T T 



^^ 



LIBRARY OF CONGRESS. 

Shelf ^M-'L^'^ 



UNITED STATES OF AMERICA. 



/ 




THIEl 



HOUSE AND SIGN PAINTERS'S 



f^cipe I gook,i 



CONTAINING 

MANY VALUABLE RECIPES AND METHODS, 
AND GENERAL INFORMATION [N 
THE VARIOUS BRANCHES 
t^^ OF THE TRADE, 

^?^. C. ^y^ARREN, 

House and Sig^n Pair|ter, 

NOBLESVILLE, IND. 



COI="S-I2,I«3-I3:'X', i.s©o. 




M. M. MANNER, PRINTER, LEBANON, IND. 



THE 



HOUSE AND SIGN 



PAINTERS^ 



RECIPE BOOK, 



COXTAINIXU 

MANY VAl.tWBLE RErllMOS AND METII<M)S 
• AND (iKXKRAL INFORMATION (N 

rUi: \ ARlOlS BRANCHES 
OF THF 'n{Al)F> 



BY 



\V. C . W A R 1^ E N , 

M o 11 R e a II d Si ^ n P ^i i ij t (> r, 



ND3LESVILLE, IND. 



1890. 




<^^ 



IHTRODUCTORY. 

In presenting this little book it has been the 
writer's object to place it into the hands of paint- 
ers in rt hantly form for future reference. 

Many of these recipes liave cost me several 
times niore than the price of this work, and are a 
collection running through over twenty years 
service at the trade, with improvements on some; 
and a great many are my own formulas, while 
there are a great many that I have never experi- 
mented with and therefore give theni for what 
they are worth. 

In presenting this work the writer lias strived to 
curtail as mucli unnecessary matter as possible, 
therefore giving more real information than some 
books tlirce times as large. 

He will also ask the pardon of Iiis fellow craft- 
n\en, who have had a long and varied experience, 
lor giving much, tJiat they may know as well, or 
better, than himself. They should know, how- 
ever, that there are a great many in our ranks wlio 
are young and Avorthy men; lie hopes, therefore, 
that this work may be an aid to tiiem, Ijowever 
sliglit, in placing them in among the craft. 

To all those who have not liad the o[)portunity 
to serve an apprenticeship under a good master, 
and who is ambitious to excel in the art, is this 
Uttlk- work especially dedicated. 

TIIK AUTHOR. 






HOUSE PAINTING. 

PfRST-CLA>*S PKIMTNC^ 

Tl»(* following is a good priming for v>l(l ;\nc\ 
IK'W work, brick and plastered walls : Take o lbs 
yellow ochre, ,■» lbs silver white wood filler, and 5 
ibs white lead; thin with boiled linseed oik It 
makes a good and a cheap primer, and tht? second 
and third coats of ptiint, will stand out <>etterthan 
any other primer that I over \ise<k 

TO MAKE A (JOOD OREEN. 

1st, Take .5 lbs yellow ochre, dry; i lb 
chrome yellow, dry, and 4 oxs, Prussian blue 
dry; grind in oil. 

2x0. .> lbs yellox^"^ ochre, dry; 'i lbs lemoii 
chrome yellow, dry, and oxs. Prussian blue, 
<lry, and if desired there can be lbs tine marble 
dust added to this and grind the whole in oil. 

8rd. T) lbs yellow ochre, dry; 4 lbs lemon 
chrome yellow, dry, and ^^ o«s. Antwerp blue; 
grind in oil. 

If yon li;i\-c no mill, get the colors already 



jL(Taancl in stanu' proportion as dry. This makes- a 
very clear color, which yov\ can make cither light- 
er or darker at pleasure. To n\ake lighter, add 
more yellow; to make darker, add more blue. 
Use No. 1 for first and second coats; or No. 2 for 
lirst and second coats; finisli with No, 3. 

STZIN« FOR SOFT WOODS TO UK VARNISH KD, 

Take i gal, boiled oil, 1 oz. beeswax, cut fine 
and put into the oil; heat the oil hot, or until the 
wax is dissolved. Add to this while hot i pint 
Japan dryer; then add 2 ozs, silver wl^ite-wood 
filler and 2 ozs. turpentine. This is an excellent 
<ize for pine doors. Dust work off well. liul> 
the size on lead pencil and soiled marks, then 
take a piece of sand paper and sand off and wipe 
off with clean rags. Then apply the size all over. 
It is better if you let it stand IT) or 20 minutes 
and rub over lightly witli clean rag?;. Does not 
iccpiire to be as particular to clean corners as 
wood fillers. 

eilKAl' ET.ASTIC (HL FOR l'.UXTIN(!. 

Take 10 gals, petroleum, 5 gals, raw oil, 20 lbs 
fosin, 1 lb caoutchouc, 5 lbs l>orax and 5 [gals. 
soft water. Dissolve the rosin in llu' oil; cut the 
caoutchouc into small pieces and j)Ut it into the 
oil and allow it to »tand until it is thorougldy 



dissolved; dissolve the borax in the N%rtter, then 
mix all together and it is ready for use. 

HOW TO MIX WATER WITH OIL. 

Take 8 ozs sal soda, 3 ozs caustic lime; dis- 
solve in 1 gal. ()f soft water, then stir in gradually 
1 qt. raw oil. Let this stand three or four days. 
Take one part of this mixture to two parts of raw^ 
oil. It is now ready to mix with paint. 

WOOD FILLINGS, 

1st. Take 1 lb corn starch, i pt. boiled oil, i 
pt. Japan, i lb pumice stone, ^ pt. shellac varnish; 
mix well together. 

2nd, o lbs silver white wood filler, 1 pt. boiled 
oil,'i pt. JapHn; thin with turpentine to consis- 
tency of thin soft soap. For walnut wood add a 
little burnt umber. 

Ai)piy either first or second formulas with a stifl 
l)rush and let them stand until they have set; rub 
off well with rags (.r shavings, taking care to clean 
the corners well with sliarpened sticks or putty- 
knife. 

CHEAP WOOD FILLER. 

Take linseed oil, 1 qt. ; turpentine, 3 qts.; corn 
starch, 5 lbs; Japan 1 qt. ; calcined magnesia 2 
ozs. Mix thoroughly. 

COMPOSITION OIL FOR MINERAL PAINTl^. 
(Suitable for Roofs, Barns, Fences, Etc.) 
Take i bbl. pine tar. 4.- bbl. coal tal*, i bbl. pe- 



trolemn refined fov illuminating j)iirposes, 25 ll)« 
uii-'a-Iaeked lime, 5 gals, asphaltum ; mix cold. In 
©old weather it will veijuire more petroleum than 
in warm weather. Add either mineral colors, Ve- 
netian red, or whiting. Using the latter will give 
it a giay color. 

HOW TO DISSOLVE PAINT »KINS*. 

1st. Take a good, tight barrel, put in 15 gals, 
water; to this add 2 . lbs concentrated lye, 5 lbs 
unslacked lime. Put in all the skins and dirty 
buckets; stir them up occasionally. When they 
are all dissolved, pour o^ the lye water on top and 
the i)aint in the bottom will do lor priming, 
rough siding or brick walls. 

2nd. Dissolve i lb sal soda in 1 gal. rain 
W'uter* soak the skins for two or three days, then 
thin with boiled oil. 

ADUl/l'ERATIONS THAT MAY BE Ui^EL) IN MIXING 
PAINTS. 

If you have a rough job, and want a good body 
upon it at a small coist, use for tlie first coat lime- 
water or the'contents of the dissolvent barrels add- 
ing a little Spanish whiting or anything you may 
liave in the way of a pigment to fill the pores. 
Dust off of the road is very good after it has been 
well cleaned. You can use it right through with 
the first, second "and thjird coats. To clean the 
road dust, first get a large tub, HU it with water. 



making it about as thick as second coating. Lut 
this stand a day or so, until it settles, drain off the 
water from the top and you will find that the tin* 
est grit is at the top, while the courser is at the 
bottom, which, after drying, will be ready for use. 
This makes a good body and a durable pigment. 
It can l)e used to adulterate any dark color. 

PKMllAKD AND FAT OIL COLUK>^. 

Various coarse paints, suitable for out door 
work, which are durable, may be made with oil as 
follows: Take a cask which will hold 20 gals., 
put 16 gals, of common vinegar, add to this lbs 
litharge, stop up this cask and shake it twi^ii a 
day for a week; then mix it with a half barrel of 
whale or seal oil, shake and mix well together, 
and let stand until the next day. Then pour off 
the clear (which will be al)out seven eighths of the 
whole:) to clear this part add 6 gals, of raw oil; 
shake them all well together and let them stand 
for two or three days, then it will be re-.dy to 
grind with white lead or any color in: when 
ground th.is paint cannot be distinguif-lud frcni 
those ground in linseed oil. 

FORMULAS ¥%}!{ MIXING t^OLOllS. 

In the following formulas use the greater 
amount of colors as they come in rotation : 

Amber Brown, Light — White lead, burnt sienna, 
orange chronic, burnt umber and lamp black. 



8 



Amber Kiowii, Dark — Burnt sienna', orange 
chrome, burnt umber, lamp black and wiiite lead. 

Anti«ine Bronze^Burnt umber, liimj) black, 
green and burnt sienna, 

Apple Green — White lead, grc en and oiangc 
chrome, 

Aslies of Rose»— Tuscan red, Ijunp black ;ind 
white lead. 

Buff, Liglit— WJiite lead, and ytiJo-^v ochre. 

Buff, Dark— White lead, ycHciv ochre and a 
little red, 

BroAvn Stone— White lead, burnt »ienna, yellow 
ochre and lampblack. 

Bismark Brown— Burnt sienni-i, burnt umber, 
orange chrome and white lead. Another — car- 
mine, crimson lake and gold bionze- If a light 
vihade h desired, \iae Vermillion insVeatl of the 
c;irmine. 

Bottle Green— Dutch pink ard prut^sian blue, 
for ground; glaze with yellow lake. 

Brown ^Three parts of reil, t^\ o of bhu k iind 
one of yellow. 

Bronze Green — Five parts chronic green, one of 
black, and one of burnt umber. 

Brick Color — Two parts of yellow ochre, one of 
Venetian red, and one of white lead. 







ButtercLi]) — White lead ami lemon chrome 
yellow. 

Cream — Five part.s white leatl, two yellow ajid 
one of red. 

Citron — Three part» of red, two yellow and one 
of bine. 

Citrine — White lead three j)arts, orange chrome 
two parts, and one of green. 

Coral Pink- — Vermillion, orange chrome and 
white lead. 

Crimson — Vermillion, carmine and a little 
white. 

Chocolate — Burnt umber, Venetian red, tuscan 
red and white lead. Or take Indian red and black 
to form -i brown and tone up with yellow. An- 
other — take lake or carmine antl add to burnt um- 
ber. 

Clay Drab — Raw sienna, raw umber, and white 
lead, equal parts and tinted with chrome green. 

Canary Color— Five parts white lead and two 
parts lemon yellow. 

Copper Color — Two parts of yellow, one i)art 
of red and one of black. 

Chestnut Color — Two parts of red , two of 
chrome vellow and one of black. 



10 



Claret — Take red and black or carmine and 
ultramarine bine. 

Carnation Red — Take three parts lake and one 
part white. 

Dove Color — White lead, Venetian red, and 
burnt umber. Another — White, iv<.\, blue, and 
yellow. 

Dull Green — White lead, green, ultranuu'ine 
blue and lamp black. 

Dove Drab — White, yellow ochre and burnt um- 
ber. 

Dregs of Wine Color — Tuscan red, lamp l)lack, 
and white. 

Drab color — Nine ])arts of white and one of 
bunrt und)er. 

Ecru — White, yellow ochre, burnt sienna, and 
lamp black. Another — take white, red, ultrama- 
rine blue and orange chrome yellow. 

Emerald Color — Take emerald green (Paris) and 
white. 

Electric Blue — Ultramarine blue, white and raw 
sienna. 

French Gray — White, vermillion, ultramarine 
blue and lamp black. 

Fawn — White, yellow ochre, Ijuriit sienna, ;,ukI 
lamp black. 



IJ 



Forest Given — White, cliroine groon and' Iicrup 
1)1 ack. 

Flax Color — White, yellow ochre and chrome 
green. 

French Ketl — ^Inctian red and Eng. verniillion 
jjflaxed with carmine. 

Flesh Color — Eight ])artH of white, three of reel 
und three of chrome yellow. 

Green — Chrome yellow an<l Prus^.sian blue. 

Grass Green — Three })arts chrome yellow and 
one part Prussian blue. 

Gold Color — White and yellow tinted with a 
little red and blue. 

Gazello — Tuscan red, Venetian red, white and 
lamp black. 

Green Rice — White, lemon yellow and chrome 
green. 

Gray Green^ — White, chrome green and lamj) 
l)ack. 

Hay Color — White, orange chrome, chrome 
green and a small amount of tuscan red. 

Joncjuil Yellow — Take iiake white and chrome 
yellow% and add vermillion to carmine. 

Lemon Color — Five ])avts lemon yellow and 
two of white. 



12 



Lavender — White lead, ultramarine l>lue, Ver- 
million, and lamp black. 

Lilac — Four parts red, three of white and one 
of blue. 

London Smoke — Yellow ochre, lamp black, 
ultramarine blue and white. 

Leaf Bud — White, orange chrome and green. 

Leather Brown — Venetian red, lamp black, 
yellow ochre and a little white. 

Light Gray- -Nine parts white, one of blue and 
one of black. 

Light Old Gold — Golden ochre, white lead and 
a little green. 

Light Citrine — White lead, orange chrome and 
chrome green. 

Light Russet — White, orange chrome, Venetian 
red, and a little lamp black. 

Light Slate — White, a little Venetian red, ultra- 
marine blue and green. 

Light Tan — White, yellow ochre, burnt sienna 
and burnt umber. 

Light Brown Stone — WHiite, Venetian red, yel- 
low ochre, and a little tuscan red and lampblack. 

Light Myrtle Green — White, chrome green, a 
little ultramarine blue and lam)) black. 



13 



Mastic— White, yellow oclire, Venetian re<l and 
lamp black. 

Mauve — Venetian red, yellow ochre, wliite and 
lamp black. 

Maroon — Tuscan red and a little ultramarine 
blue. Another — Three parts carmine and one of 
yellow. 

Maroon Brown — Tuscan red and lamp black. 

Inagenta — Carmine, cobalt and a little Hake 
wliite. 

Medium Gray— Eight ]>arts wliite and two of 
black. 

]\ryrtle Green — Chrome green, ultramarijie blue, 
lamp l)lack and a little white. 

Old Gold — Golden ochi'c, white, burnt sienna, 
and a little green. 

Olive — Orange chrome, lamp Ijlack an<l a little 
white. 

Olive Light — White, orange chrome, lamp 
l)lack and chrome green. 

Olive Dark — Yellow ochre and Prussian bine. 

Olive Drai) — Raw undjcr, raw sienna, oiange 
chrome, ultramarine blue and white. 

Olive Brown — ^Three parts burnt umber and one 
})!irt lemon yellow and one of green. 



u 



Oak Color — Five parts white, two of yellow 
and one of red. 

Orange — Three of yellow and one of red. 

Opera Pink — White, vennillion ami ultramarine 

Mue, 

Pearl Color — White, l)lack and red. 

Pea Green — Five parts white and one of elironie 
,j^reen. 

Purple — Three parts red, three of blue and two 
of white. 

Peacock Blue — Cobalt, emerald green (Paris) 
and a little wliite. 

Pure; Gray — White, Vermillion, ultramarine 
blue, chrome yellow and lamp black. 

Primrose — White an<1 lemon yellow. 

Pink — White and Eng. vermillion. 

Pomi)ian Red Dark — Venetian red, burnt sienna 
and carmine. 

Pompian lied Light — Venetian red, tuscan icd 
and a little j'cllow and white. 

Pearl (Tray--White, vei-million, ultramaiinc 
blue and lamp black. 

Purple Brown — Tuscan red, yellow ochre, lamp 
black, burnt N'-ienna and ultramai-iiie blue and 
white. 



Peach IJlossoni — Ten parts white, two of red, 
one of blue and one of yellow. 

Portland Stone — Three parts raw nniher, three 
yellow ochre and two of white. 

Plum Color — Two parts white, one blue and 
one of red. 

Quaker Drab — White, yellow oclire, chronie 
j^reen, lanij) black and a little burnt sienna. 

Quaker Green — Two ])arts chrome green and 
one part coach black. 

Russet — White, Aermillion, chrome yellow and 
ultramarine blue. 

Russian Gray — White, Acrmillion, ultramarine 
blue and lamp bl'ack. 

Red Slate — Venetian red, white and burnt 
sienna. 

Russet Green — White, green and orange 
chrome. 

Rose Color — Five parts white and two of car- 
mine. 

Shrimp Pink — White, Vermillion and burnt 
sienna. 

Spruce — Yellow ochi'e, white and Venetian red. 

Salmon Color — White, Venetian and burnt 
sienna. 



IC 



Slate — Wliitc, Venetian red, ultranianne ))luo 
and green. 

Straw Color — White and ^^ellow oelire. 

Sky Blue — White and col>alt blue. 

Shell Pink — White, vennillion and burnt 
sienna. 

Scarlet — Vermillion and earniint'. 

Smoke Drab — Yellow ochre, lamp black, ultra- 
marine l)lue and burnt umber. 

Sage Green — Twelve parts white, two parts green, 
and one-half part each of chi'omc yellow and 
burnt umber. 

Sand Stone — Tuscan red, white, Venetian red 
and lamj) black. 

Snuff Color — Four parts of yellow and two of 
Vandyke brown. 

Stone Color-— Ten parts white, one part yellow 
and one half part of black. 

Tally Ho.-— White, yellow ochre, Venetian red' 
lamp black and a little green. 

Tan Color— Burnt sienna five parts, chrome 
yellow two parts, raw umbei" one part and white 
one part. 

Terra Cotta---White, burnt sienna uni] lamj) 
black. 



17 



Tor«j[Uoise Blue— White, cobalt blue and emer- 
ald Geeen (Paris). 

Violet---Five ])arts red, four parts blue and one 
of white. 

Willow Green— Five parts of white and two of 
verdigris green. 

Wine Color-— Three parts carmine and two of 
ultramarine blue. Another-— Take tuscan red, 
lamp black and ultramarine blue. 

Yellow Bronze— White, chrome yellow and 
green. 

A CHEAP FIRE-PKOOF ]{()()FING. 

Take common building or felt paper and after 
it is well tacked down, use paint made with com- 
])08ition oil, previously described; and while wet 
throw coarse sand over it. 

FIRE PROOF PAIIS'T. 

Take 35 lbs dry zinc, 15 lbs air-slacked lime, 25 
lbs white lead, 5 lbs sulphate of zinc. Mix the 
dry zinc and air-slacked lime together and grind 
in the cheap elastic oil, then add i gal. 35^ soluble 
glass and the white lead; add then tlie sulphate of 
zinc. Stir well and it is ready for use. 

PAINT FOR SMOKE STACKS. 

Take thin coal tar mixed with finely ground 
])lumbago. Make of the consistency of ordinary 
paint. 



18 



CHEAP OUT SIDE PAINT. 

Take two parts in hulk of water lime, grind it 
fine, and add one part in bulk of white lead 
ground in oil; mix tliem thoroughly; add linseed 
oil enough to thin to proper consistency to spread 
under the brush. 

TO MAKE WATER PROOF CLOTH. 

Take 8 lbs rosin, i lb caoutchouc, 1 gal. boiled 
oil, 3 gals, prepared oil. Dissolve the rosin in 
the oil; cut the caoutchouc into small pieces and 
put in the boiled oil and let it stand in the sun un- 
til it is dissolved; then mix all together and 
apply witli a brush. It should be kept warm 
while using. Wet the clotli with alum water. 

Another method whicli is very easy to make 
canvass water-proof without altering its appear- 
ance or pliability, by saturating it Avith a boiling 
and strong solution of soap. 

Pressing out the excess of soap, and then sub- 
mitting it for a short time to the action of a hot 
bath of alum, sulphate of aluminum, or acetate 
of lead; which operation causes the formation of 
an insoluble alumina of lead soap, which will per- 
meate all the pores of the cloth and render it 
water-proof. Another-— Dissolve together 8 ozs. 
white resin pulverized, 6 ozes. bleached linseed oil, 
H ozs. white beeswax. Thin with turpentine. 



19 



jipply to both sides of the clotli while it is 
stretched tight. 

SUBSTITUTE FOR WHITE l.EAD. 

Take 75 lbs dry white zinc, 30 lbs marble dust; 
mix well together; run through a mill, or if you 
have no mill run through a line strainer. If you 
want a clear white or light tint job, use raw 
oil with a little turpentine. For plastered walls 
(inside) you will find that you will have a much 
l)etter job than you would by using white lead: 
the work stands out better. If you want a cheaj) 
job use the composition oil for first and second 
coats. 

AUULTEKATIONS FOR WHITE LEAD. 

Take 50 lbs white lead, 25 lbs white zinc, dry, 
and 25 lbs Paris white. You will find that the 
paint will still have a good bod\ and reach as far 
as all pure lead. Mix the white zinc and Paris 
white together first, and run through tlie strainer: 
then put in tiie lead after i^ has been broken up 
well. 

TO TEST THE PURITY OF WHITE I-EAD. 

Take a piece of firm close grained charcoal and 
near one end hollow out a cavity say ^ inch in 
diamater and i inch in depth. In the hollow 
place the sample of lead to be tested say about the 
size of a pea, then apply continuously to the hot- 
test part of a jeweler's blow ])ipe. If the sanii)l(' 



20 



be strictly pure it will, in about two minutes, be 
reduced to metallic lead, leaving no residue; but 
if it be adulterated to the amount of ten per cent, 
only with oxide of zinc, sulphate of baryta, w-hit- 
ing or any other carl)onate of lime which are the 
only substances used in adulterations or if it be 
composed entirely of these materials, as is sometimes 
the case in some cheap lead, it cannot be reduced, 
but wdll remain on the charcoal an infusible mass. 
After blowing upon it, say one half minute, take a 
knife blade and turn it over so the heat can pass 
under as well as over it. Use a common star 
candle, lard oil lamp or a jeweler's alcohol lamp, 
a coal oil lamp should not be used. 

TO TEST THE PURITY OF LINSEED OIL. 

Take a test tube, or a long 2 oz. bottle; pour in 
equal jjarts, of the oil to be tested and commercial 
nitric acid (say one-half oz. each) shake the mix- 
ture well, and let it stand for twenty minutes. If 
the oil is pure, the upper strata will be a straw 
color, and the lower strata colorless; even 5 per 
cent, adulteration will change the upper strata to 
a dark brown or black, and tiie lower strata to a 
bright orange or dark yellow, according to the 
material used as an adulterant. 

METALLIC ENAMEL PAINT. 

To make a paint for covering bodies such as stove 
pipes, ranges, and other surfaces that are to be 



21 



heated. To make a good job it will rec^iiire first 
to coat the object with a covering of the common 
graphite or black lead. Only use such colors as 
are unaffected by the heat; such as burnt umber, 
l)urnt sienna, burnt oclire, green earth, red or 
violet, oxide of iron, best sort of artificial ultrama- 
rine blue, pure chrome red, chrome green, 1)urnt 
(-'gg shell, white zinc and the French bronze. 

jfVll the above colors can be used : any tint made 
by combining them with soda diluted one-half 
with soft water. Bear in mind that it will be nec- 
essary to keep stirring them Avhile applying them, 
as they set very quick in the pot, being similar to 
plaster Paris in that respect. The iron should be 
a little warm so that evaporation will take place 
at once. 

SHELLAC VAKNISH. 

Such as is used for killing knots and gum s[)ots 
n pine boards, previous to painting. It is made 
by taking best alcohol 1 gal,; nice gum shellac, 
2i lbs; place the bottle or can in a position where 
it will just keep a little warm and it will dissolve 
quicker than if it is cold or too hot. 

TO NEUTRALIZE PIXE KNOTS. 

Before priming give them a thin coat of red lead^ 
white lead and whiting. 

COPAL VARNISH. 

Take 5 lbs pulverized rosin, 1 qt. turpentine 



22 



and let stand until the rosin is dissolved, add 1 qt. 
boiled oil, 1 pt. Japan dryer; mix well, and if too 
Iieavv thin with turpentine. This cannot be beat. 

HOW TO MAKE .JAPAN DRYER. 

Take linseed oil, 1 gal., gum shellac, Si lbs, 
litharge, turkey, umber and red lead, each ^ lb; 
sugar of lead, 6 ozs. ; boil in the oil 4 hours, re- 
move from the tire and add 1 gal. turpentine. 

HOW TO MAKE (4I>OSS VARNISH. 

Take 1 gal. raw oil, boil it for one hour, then 
add 2 lbs rosin, stir until disolved, add half-pint 
turpentine, 1 oz. gum camphor, then strain. 

TO MAKE HARD OIL FINISH. 

Take 375 parts linseed oil boiled with 75 i)arts 
litharge and 45 parts pulverized minium, boil 
until it turns brown, then add 250 parts pulver- 
ized amber melted in 80 parts linseed oil, boil and 
stir for a few minutes, cool, settle and decant the 
clear varnish. Another method is to take linseed 
oil r. gal. rectified spirits 1 pit.; oil of tui'pentine 1 
(]t. ; powdered rosin 6 ozs., mix. 

CARRIAGE TOP DRESSING. 

Take 150 parts asphaltum melted in 'S parts 
boiled oil. add 88 parts turpentine, 20 parts ben- 
zine, which will make lustrous enamel for carriage 
tops. 



VIOLIN VAKNISH. 

Take jimiper gum 80 gr., mastic 100 gr., elemi 
80 gi\, concentrated essence of turpentine 00 c. c, 
castor oil 25 c. c, alcohol 1 liter. Color with 
Dragon's blood, Gamboge, or any shade of aniline 
desired, dissolved in alcohol. 

PAINT FOK BLACK BOARDS. 

1st. 2 qts. alcohol, i lb shellac, 1 oz. lamp 
I)lack, 21 ozs. ultramarine blue, 4 ozs. powdered 
lloschelle salts, 6 ozs. powdered pumice stone. 

2nd. 2 qts. alcohol, i lb shellac, 4 oz. Ivory 
black, 2i oz. emery flour, 2 oz. ultramarine l)lue. 

8rd. Take equal parts of pumice stone and red 
lead and grind together with turpentine, a little 
raw oil and best varnish; add enough lamp black 
to make a dark color, then thin with turpentine 
until it will dry perfectly flat; ajjply the slating 
with a flat brush as fast as you can to kee[) from 
showing laps; have the surface smooth and free 
from grease; shake the bottle or can well before 
pouring out and keep it well corked. 

4th. Take 1 qt. shellac varnish, 8 oz. i)ulver- 
ized pumice stone, 4 oz. pulverized rotten stone, 
and 4 oz. lamp black. Add the varnish a little at 
a time to the above, stir well to break the lumps. 
This will cover about 75 square feet, two coats, 
and can be used within an hour apart. Have your 
brush free from varnish or oil colors, lay on the 
color verv fast. 



24 



5tii. Take common glue 4 oz. dissolve in f qt. 
warm Avater, add 3 oz. flour of emery and enough 
lam}) black to give it a black color, stir well and 
apply with a woolen cloth smoothly rolled. Three 
coats will be sufficient for the job. 

SIZE FOIl KALSOMINE OR TAINT. 

Take 1^ lb sal soda, ^ lb borax and 5 lbs rosin ; 
put in 5 gals, boiling water, and keep stirring 
until all is dissolved; take one pt. of this solution 
to 80 pts. of water, which has had 1^- lb. glue dis- 
solved into it. Then boil l)oth solutions 10 or 15 
minutes, strain and it is ready for use. It is an 
excellent size for plastered wall to l)e kalsomined 
or painted. 

SIZE FOR WALL PAPER OR WOOD TO RE VARNISHED. 

Take one pound of white glue, let it soak 10 or 
15 hours in enough soft water to cover it, then add 
2 gals, boiling Avater, and i gal. wood naptha, 
mix well together. This will keep w^ell without 
souring. Common glue will do for rough work; 
common starch makes a good size for wall paper_ 
Another way is to use a chilled white glue size; tliis 
l)eing a jelly will not run and cause one color to 
flow into anotlier. It should be given two coats. 
Be particular to get into all corners and leave no 
"holidays." 

SIZE FOR WALLS TO HE PAPERED. 

Wli^re walls liave been white washed the fob 



25 



lowing is a good size : Take i lb glue let soak in 
enough water to cover it for 10 to 12 hours: add 
li gal. boiling water, then add 1^ oz. alum. An" 
other method, where walls have been white washed 
is to coat them over with vinegar, this kills the 
whitewash, where sometimes it will discolor the 
paper, 

GOOD PASTE FOR PAPEK HANaiNG. 

To make a bucket of paste take flour enough to 
make 3 pts. of batter, the consistency of thick 
cream; the flour to be mixed witli luke warm 
water; to this add 1 oz. ])Owdered or crushed alum» 
about a thimble full of fine rosin and i oz. sugar of 
lead. To tins add boiling water (stirring all the 
while) until the paste is thoroughly cooked. This 
paste will keep for several days. 

PASTE FOR PAINTED OR VARISHEU WALLS, 

To make paper stick on painted or varnished 
walls add to a bucket of paste (previously de- 
scribed) 3 sheets of isin-glass which have been 
dissolved in 1 pint of warm water, also 2 ozs. 
glycerine; pastry gelatin will answer as a substi- 
tute if the isin-glass can not be had, 

TO CLEAN SOILED WALL PAPER. 

Take 2 or 3 quarts of wheat bran and tie it up 
in a coarse flannel cloth and rub it over the paper. 
It will clean tiie whole paper, of. almost uU de- 



26 



scriptions of dirt antl smokc^ as well as almost an)- 
other means used. 

Another method is, to make a stiff dough of rye 
tiour and water, to which has been added i oz. 
powdered concentrated lye, to abosit 4 lbs of 
dough. In nibbing over the paper, turn dough 
over after each stroke and keep working it, 

TO CI>EAN PAINTED WAIJ.S. 

The best mode is for two men to work, one to 
follow the other. Tliere is not as much danger of 
streaking or spotting the wall. A stretch of 3 or 
4 feet, is as much as should be done at a time. 
This should be dampened with clean water, using; 
a sponge for the purpose; following up with a 
suds made of castile sonp, dissolved in warm 
water, apply it with a kalsomine brash 8erul>bing 
lightly. After the dirt has been s-oftened by this 
means, scrub with a solution made as follow : 1 
lb castile soap shaved fine, 2 lbs whiting, and 4j 
gal. water, boil the soap and water together, then 
stir in the whiting. When cold dip tlte brash into 
the mixture and scrub, taking care not to scrub 
harder than is required to remove the dirt. Then 
sponge off thoroughly with clean water, and wipe 
down with a wet chamois (wrung dry). Avoid 
using too much water as to run down and 
streak the walls. Begin at the bottom and work 
up. On the final washing, care should be taken to 
keep clean water, changing often. 



^7 



KAIj^O MINING. 

A good job of kalsomining depen-ds largely oiii 
tlie condition of the walls. All old kalsomine 
should l^e washed off clean. If white \\'ash tlie 
iinie should be scraped, or the lime neutralized. 
All cracks and holes should be plastered up witli 
Plaster Paris, and if any bad stains, kill tJiem with 
?i solution of hot alum or shellac varnish, or by 
i3asting a piece of white paper over tbeni. Take 
best Gilders whiting or Paris white, place in a 
bucket and put enough water to cover it. In an- 
other bucket put some light colored glue ^ lb to 
10 or 12 ll)s whiting, and also put enough water 
to cover the glue and let it stand 10 or 12 hours (or 
over night) then pour i gal. boiling water oxxr it 
wlien it will be dissolved, then add this to the 
whiting. Make the desired tint you wish, trying 
a little on a piece of paste board and drying it, 
which will give you the shade when dry on thi' 
wall. For a pink, use aniline color which has 
been previously dissolved in acoliol. Make one 
coat of kalsomine do if possible. If two coats arc 
necessar\', go over second time with the kalsomine 
cold. 

In kalsomining, do not lay it off all one way, 
as you would ])aint, but cover every spot, working- 
it every way and get it even and smoothe without 
brush marks. Keep the edges all along wet, foi 
if a part of it is allowed to dry or sink in, it wilj 
make a bad and trou^\» job. It is better to have 



two men to work it, carrying the work right along 
as fast as possible, A good job cannot be done 
unless the suction of the walls be stopped, which 
can be done with a glue size and a little soap and 
alum dissolved into it. Nothing thougli is better, 
however, than a thin coat of hard oil finish, or 
Damar varnish: but these must be thoroughly 
dry first. 

LIME FOR KAI.SOMFNING. 

Take i bu. of fresh lime, 1 lb salt, i lb sul- 
phate of zinc, 1 gal. sweet milk. 

For brick work where exposed to dampness, 
take i pk. fresh lime with enough water to make 
thin paste, run through strainer, add 1 lb soda 
which has been previously dissolved in boiling 
water; then make a thin paste by cooking 1 lb 
rice flour, i lb of glue; mix with the lime com- 
pound while hot; add then i lb sal soda dissolved 
in water; stir all together and let stand a few 
days before using. Warm before using, 

GOVERNMENT WHITE WASH. 

Slack i bu. lime with boiling water and keep it 
covered during the process, strain and add 1 peck 
of salt dissolved in warm water, and add 3 pounds 
of rice flour boiled in water to a thin jjaste, add i 
lb whiting and 1 lb clear glue, which has been 
previously dissolved in warm water. Allow this 
to stand several days, and ap[)ly hot. 



20 



UNCLE SAM S WHITE WASH, 

The mixture that is used to shine up the lij^ht 
houses on the coast. 

"To 10 parts of freslily-slacked lime, add 1 part 
of the hest hy<h'aulic cement. Mix well wirh salt 
water and api)ly (]uite thin." 

GOOD PAINT FOR SHINGLE ROOFS, 

That can he applied cold and dries quickly. 
Take one barrel of coal tar, ten pounds of asphal- 
tum, and ten j)ounds of <rround slate. Mix by the 
aid of heat and add two gallons of dead oil. 

TO MAKE A CHEAP PAINT. 

Mix up a pot full of pure lead paint in the or- 
dinary way, and pour it into a tub or large keg, 
then take about the same quantity of Gilder's 
whiting into another pot and break it up pretty 
stiff and line with water; pour the two together in 
the tub or keg and stir the mass somewhat vigor- 
ously for awhile. The lead in oil and tlie whiting 
in water will mix and you will have just doul)le 
the amount or paint, which will be thicker than it 
was before. This paint works well in warm 
weather and by no means so bad a paint as four- 
fifths of the so called mixed paints. It has not 
the covering capacity nor does it make quite as 
good a job as pare lead. 

CHINA GLOSS WHITE. 

Put on your priming out of pure wliite lead 



30 



and ail; second co{it, mix the lead half ?ind lialf 
oil and turpentine; third coat, use best French 
zinc mixed flat with turps only; fourth coat, a 
little zinc aud clear daniar varnish; fifth coat/ a 
little less zinc, with dumar varnish. Sand paper 
well between each coat and be particular to give 
plenty of time for each coat to get thoroughly dry 
or the work will chip crack, 

WASH FOR BRICK WAI.LS. 

To make them look fresh and new. Dissolve 
1 oz. of glue to every gallon of water, and add 
while hot, a piece of alum the size of a hen's egg, 
i pound of Venetian red, and 1 pound of Spanish 
brown. Try a little on the bricks, if too dark 
add more water, if too light, add more red antl 
brown. 

Anotlier method : Where a new laid brick 
wall, containing a large amount of moisture and 
if painted immediately in tliis condition and just 
before winter ^eta in. The paint will retain the 
moisture and the cold will freeze it and help to 
crumble the brick, and also new laid mortar still 
retains considerable of the costic pro])erties of the 
lime, which will soon eat up and destroy the paint. 

If there be j-eason to make a good appearance at 
once, it is better to put on a coat of wash made as 
follows : Take water, cement, Venetian red and a 
little lime or lime-water and salt. This will give 



81 



it a good appearaiK-t^ an<l l?ist for a'year or so, and 
Avill not prevent the evaporation of the water from 
the walls, and allow the caustic lime to act upon 
the sand of the mortar and harden it. When the 
wall is properly seasoned it can be painted with a 
good body of oil paint. 

ssylvkster's tkocess for excluding moisture 
from external walls, 

Which consists in using two washes or solutions 
for covering the surfaces of brick walls, one com- 
pound of soap and water, and the other of alum 
and water. Tlie proportions are three quarters ot 
a pound of soap to one gallon of water; half a 
pound of alum to four gallons of water. Both 
substances must be perfectly dissolved before using. 

The walls should be perfectly clean and dry, 
and the temperature of the air should not be below 
50 degrees Fahrenheit when the compositions are 
applied. 

The first or soap wash, should be laid on when 
at boiling heat, with a flat brush, taking care not 
to form a froth on the brick work. This wash 
should remian tweuty-four hours so as to become 
dry and hard before the second or alum wash is 
applied, which should be done in the same manner 
as the first. This should also remain twenty-four 
hours before a second coat of soap wash is ap- 
plied. These coats are to be repeated alternately 



32 



until the walls are impervious to water, which will 
take four coatings. The alum and soap thus com- 
bined form an insoluble compound, filling the 
pores of the masonry and preventing the water 
from penetrating the walls. — N. Y. Sun. 

TO REMOVE OLD PAINT FTIOM WOOD. 

Make a strong solution of s;d soda and water, 
and apply ; when the paint is soft, scrape away, 
and wash well wi'h clean water. 

Another Method^Take 3 parts of fresh lime 
and slack it, add 1 part of pearlash, and dilute 
with water to a mushy consistency, apply with a 
brush; let stand about twenty-four hours, when the 
paint will be soft enough to be scraped away. 
Wash well. 

Another Method — Use a strong solution of con- 
centrnted lye and w^ater: when paint is soft scrape 
away with putty knife and thoroughly wash; let 
dry and sand paper down before painting. 

TO REMOVE OLD VARNISH. 

This is obtained by mixing 5 parts of 36 per 
cent, of silicate of potash, 1 of 40 per cent, soda 
lye, and 1 of sal ammoniac (hydro-chlorate of am- 
monia.) 

Another Method — Use a strong application of 
ordinary spirits camphor. It will remove almost 
any kind of polish or varnish. 



33 



Give tUa spirits time to evaporate before re- 
varnisliing, or it will injure the new varnish. 

Another plan to remove varnish from wood, is 
to make a strong solution of soda, soap and water, 
and keep the place constantly wet while scraping. 
This softens the varnish. Wash well, and when 
dry rub down with sand paper previous to re-varn- 
ishing. 

TO MAKE PLASTICO FOR WALL DECORATIONS. 

Dissolve 1 lb glue in a gal. of water; add 2 lbs 
whiting, 2 lbs Plaster of Paris and 1 lb of keg lead. 
Thicken with whiting or thin with water to the 
desired consistency. Apply it with an old whisk 
broom and impi-ess the design with a sharp stick, 
your fingers or a coarse comb. It will dry thor- 
oughly in about twenty-four hours. After it is 
dry ypu can varnish, gild, or otherwise ornament 
to suit the fancy. 

ROUGH STIPPLE FOR COMBING, ETC. 

Mix equal parts of white lead, plaster Paris 

(best) and zinc white. Mix with linseed oil and 
turpentine, half and half, adding enough Japan to 
make the mixture adhere to the w^alls without 
sagging. It should be applied to the surface with 
a brush, in as thick a consistency as possible, or as 
thick as it can be worked with a brush— if thicker 
is required lay it on with a trowel. 

This material, after being applied, will take the 



34 



impression of any form desired tlie same vis wax. 
It can be "combed" into straight, wavy or curved 
lines or scrolls, wiiich, w hen properly colored up, 
gives a beautiful and decorative effect. This ma- 
terial can be colored up before applying by using 
dry color for the desired shade. 

GOLD PAINT. 

Take good bronze powder, (French gold leaf 
[)owder is the best), and mix with one-fourth extra 
light hard oil finish, and three-fourths turpentine. 
Apply with camel's hair brush. Do not mix much 
at a time, as it dries quickly. 

LIQUID FOR BRONZE POWDER. 

Take 2 ozs. gum animi, dissolve in ^ pint lin- 
seed oil by adding gradually while the oil is being 
heated. Then boil, strain and dilute with turpen- 
tine. 

TO PREVENT BRONZE FROM TARNISHING. 

To keep bronze striping, lettering, &c., from 
tarnishing, coat over with a thin coat of white 
shellac varnish. It is a good thing to put over 
striping, &c., before applying finishing varnish. 

CARE OF BRUSHES. 

Keep varnish brushes in oil, wash them out in 
benzine before using, then wipe dry on a clean 
board. 

Keep paint brushes in water deep enough to 
c6ver the bristles. The best arrangement is a 



3d 



trough witfi Huriiig sides and iucfies deep, 12 
inches wide and 3 or 3 feet long, for a sliop runn- 
ing two or tliree men. This shonld be lined witfr 
tin or galvanized iron. 

In winter use a salt brine, as it will not freeze. 
Brushes should be cleaned well before using. 

Another Method — Add 1 oz. glycerine to each 
gallon of water, will prevent brus-hes from freez- 
ing up. 

CHKAP PUTTY FOK OUT OR INSIDE. 

Take Spanish whiting and a good heavy paste of 
rye flour, a small quantity of Japan and linseed 
oil. Color to suit the work. This dries quick 
and hard. Use more oil for outside work. To 
kee]) it for a length of time, add a few drops of 
carbolic acid. 

PUTTY JOK SINKS. ETC. 

Take litherage 20 oz., dry powdered burnt lime 
1 oz. Make into a putty by adding linseed oil. 

SOLUBLE GLASS FOK PAINTING. 

This substance has been but little used for 
painting purposes, for the reason that when com- 
bined with earth or mineral paints, silica is formed, 
a substance which is almost insoluble. This can 
be prevented by the following process, and it will 
give you a paint or strong hardness, of great dura- 
bility, possessing many good qualities in general. 
This has been used successfully on mantles, &c. 



36 



The dry paints should be gi'ound in a size made of 
starch in sufficient quantity to keep the color from 
rubbing up. Whiting or Paris white can be used 
in place of dry white lead, and gives almost as 
good, results. 

First coat the work with 35 ])er cent, soluble 
glass, thinned down with warn) watei-, let stand 
one hour or so; tlien put a coat over the work with 
the water color heretofore described until you 
have a good body, then rub down well with fine 
sand paper, then put on a coat of soluble glass. 
You can put up a first-class job in one-half day. 
Give this a fair trial and you will use it continual- 
ly. The soluble glass will cost you about 50 cents 
per gallon. Then it can be thinned down one-half 
with water, making the cost only 25 cents per gal- 
lon for your material. Heat will not blister work 
coated with this preparation. 

FLOAT MARBELIZING. 

This is the process by which iron or slate man- 
tles are done, and wood can be done the same way 
with good results. 

Give the wood a good body suitable for wood, 
have it well rubbed down and finish with the 
ground desired. 

Have a tank large and deep enough for the work 
you have to do; fill the tank with water, add 2 ozs. 



87 



of ^um tragacant for every gallon of water in the 
tank. 

Mix your colors with turpentine and a very lit- 
tle raw oil. Put colors in two bottles, add 1 tea- 
spoonful of beef gall, shake up well; sprinkle tlie 
colors evenly on the water, and when you have the 
colors arranged satisfactory dip the work in even- 
ly, and when dry varnish. 

FURNITURE POLISH. 

Take 2 ozs. rosin, 12 ozs. alcoliol 98 per cent., 
4 ozs. sulphuric ether, 2 ozs. l)alsani fir, and 8 ozs. 
l)oiled oil. 

Another — Take 1 (jt. boiled oil, 1 pt. turjientine, 
H <»''^- muriatic acid, 1 ^ ozs. alcohol. Mix, and 
])olisii with Canton flannel. 

Another — Raw linseed oil dr. xx, spirits tui|)en- 
tiiic dr. V. muriatic acid dr. iv. Mix, and apply 
with flannel rag or si)onge. 

TO PREVEXT PAINT FROM CHIPPING OFF. 

On inside work, where the paint has been on a 
long time, the paint transforms into a species of 
glass, and paint only adheres as it would to glass. 
It becomes so hard that even sand paper will not 
take hold of it. In such cases, if rcpainte*), and 
it receives a blow or scratch, it will chip off. The 
only way to prevent it is either to burn the paint 
off — wjiich is a very expensive mode — or, a cheap 
er way is to go over the surface of the work before 



18 



re-painting with a moderately strong solution of 
ammonia and soda, thoroughly wasliing it, after- 
wards follow with the painting. 

WAXING FLOORS. 

Clean the floor thoroughly by scrubbing, then, 
when dry, clean again with turpentine. If the 
floor is rough, give it a coat of wood-filler or slud- 
lac. Melt bees wax and turpentine, and apply 
witii a brush, then polish with a large scrub brush 
or liorse l)rusli. 

I'ROSTIXli. 

To make a good imitation of frost on glass' 
make a liquid of epsoni salts and lager beer. This 
will last for a long time away from natural frost 
and exposure. To bind it firmly apply a thin coat 
of damar varnisii over it. whtch may be colore;l 
with any transparent tul)e colors, which gives a 
very beautiful effect. 

Another — Grind your dry color in a licjuid made 
by dissolving gum arable in soft water with com- 
mon salt. Tins v.ill adhere so well that it will 
eat into the glass and last for years. 

Another method, which is used most generally 
for frosting ofiice doors, &c., is at follows: Take 
keg lead and mix to the consistency of second 
coating with two-thirds boiled oil and one-third 
turpentine. Apply to glass with a brush, rubbing 
it out well; then take a fine-grained muslin cloth, 



39 



(lampcii it slightly, and place inside of it a wad of 
raw cotton and pounce the glass all over, taking 
out. all brush marks, &c. Another way — Mix 
flake white with boiled linseed oil, then add pow- 
dered mica. 

TO MAKE GLASS IMPERVIOUS TO THE SUN'S RAYS. 

Pound gum adragant to powder, and dissolve 
for twenty-four hours in the whites of well-beaten 
eggs. Lay this on the glass with a soft brush. 

WALNUT 8TAT?'. 

1st. To make a stain without the use of oil, 
take 2 drachms permanganate of potash, add 
enough soft water to make proper consistency; 
when dry finish witii varnish. 

2nd. A very good stain is obtained l)y taking- 
brown asplialtum varnish and thinning with tur- 
pentine to proper consistency. 

8rd. Take 2 parts ground burnt umber, 1 part 
ground burnt sienna, 1 part Japan and thin with 
turpentine and boiled oil in equal proportions. 

4th. Mix Vandyke brown with a small amount 
of pearlash in a little cold water, then heat it un- 
til it l>ecomes a paste, then add a quart of boiling 
water gradually and stir. Apply the mixture with 
a ])iece of woolen cloth. 

5th. Take turpentine 1 gal., pulverized as- 
phaltum 2 lbs, dissolve in an iron kettle on a stove^ 
stirring constantly. The addition of a little 
varnish with the turpentine improves it. 



40 



CHERRY STAIN. 

1st. Take 1 part ground Indian red, 1 part 
ground Venetian red, 1 part Japan, and thin with 
turpentine and boiled oil in equal proportions. 

2nd. Rain water 3 qts„ anotta 4 ozs., boil in a 
copper kettle until tlie anotta is dissolved, then 
put in a piece of potash the size of a walnut, keep 
the solution on the fire fur a half liour longer and 
it will be ready for use. Keej) it well corked 
when not using it. It makes p<i})lar, pine or light 
woods so near the natui'al color of clierry that it is 
hard to tell. 

MAHOGANY STAIN. 

Boil \ lb madder and 2 ozs. logwood cliips in I 
gal, of water and brush well over while hot. 
When dry go over with ])earlash solution, 2 
drachms to the quart of water. By using it strong 
or weak the color can be varied. 

Another stain for maliogany in oil i.nay be ob- 
tained by simmering linseed oil for awhih', to 
whicli has been added alkanet root. The oil 
shouhl be watched closely. 

TO DARKEN MAHOGANY WOOD 

With a deep tint and still n-tjun plenty of color, a 
small amount of chromate of potash may be 
melted in a quart of ^^ater and applied over tlie 
wood with a piece of wotUen cloth. 



41 



ROSEWOOD STAIN. 

Take alcohol igal., camwood 1 oz., set them in 
a warm place for 24 hours; then add 1^ ozs. ex- 
tract of logwood, nitric acid ^ oz. When all is 
dissolved it is ready for use. 

Another may be obtained by using the first part 
of first formula of ebony stain, leaving off the vin- 
egar solution. 

Another formula is to use the red stain; wlien 
dry, follow with the 5th formula gf walnut stain. 

BIRCH STAIN. 

A good imitation is obtained by using a solu- 
tion of chroraate of potasli dissolved in water. 

KBONl STAIN. 

Take extract of logwood and boil for three hours 
in water and apply while hot, vvhicli will make a 
red stain. Then coat this over with vinegar solu- 
tion, to which has been added rusty nails three or 
four hours before. 

Another— -Boil 1 lb of logwood chips or dust in 
4 quarts of water, add a double hand full of wal- 
nut hulls, boil the second time, tlien add 1 pint of 
vinegar, and it is ready for use. Apply hot and 
follow, when the wood is dry, with a hot solution 
of copperas, 1 oz. to each quart of water. 

RED STAIN. 

Boil 1 lb Brazil wood and 1 oz. of pearlash in 1 



42 



o-rtl. water, and while hot brush over the work un- 
til proper color. 

Dissolve 9 oz. alum in 1 quart of water, and 
brush this solution over the work until it dries. 

WINE COLOR STAIX. 

Boil 1 1') of Brazil wood with 3 (juarts water for 
an hour, add ^ oz. cochineal, boil again for half 
an hour gently; strain, and it is ready for use. 

BLUE STAIN. 

Boil 2 oz. Indigo, 2 lbs of wood and 1 oz. alum 
in 1 gal. of water. Brush well over the work un- 
til thoroughly stained. 

GREEN STAIX. 

Take i lb of best verdigris and I oz. Indigo : 
boil in 6 pints of vinegar. Allow the veneers to 
simmer until the color has penetrated. — School of 
Design. 

<;raining grounds and graining colors. 

Oak — Ground should be a light straw color, 
made with white lead, colored with French ochre, 
orange chrome yellow or chrome yellow and a 
small portion of Venetian red. 

Graining Color. — 1 part burnt umber, 8 parts 
raw sienna with a small portion of burnt sienna: 
all the colors should be finely ground in oil; thin 
down with equal parts of boiled oil and turpen- 



43 



tine witli a little Japan and a small portion of 
bees wax melted in the oil. 

Ash. — Ground same as oak, only 2 shades light- 
er, graining color same as oak only less of burnt 
sienna. 

Chestnut. — Ground as ash, tinted a little with 
black; graining color same as oak l)ut also tinted 
a little with black. In shading use a little extra 
burnt sienna. 

Walnut.— Ground should be a light yellow 
chocolate, which is made of 1 part French ochre, 
2 parts burnt uml)er, 1 ymvt of Indian red and 
white led of equal proportions. 

Graining Colors. — Use burnt umber in oil, 
thinned as described in oak graining color. 
Dampen the surface to be grained with water, 
using a sponge or chamois, then take burnt umber 
mixed in equal proportions of beer and water and 
rub in a small })art at a time very liglitly, then 
pounce or stip2)le with blender or dry brush and 
when all is over and dry, brusli over the surface 
with oil, Japan and turpentine i.i equal parts, let 
dry, tlien 2>i"oceed with the oil graining color. 

Butternut or White Walnut. — Ground 4 or 
o shades lighter than walnut. Stipple and use 
same graining color as walnut; it is of the same 



grain as walnut, only ligliter. 



44 



('herry. — Ground same as oak, only reddened 
up with burnt sienna. 

Graining Color. — Burnt umber, raw sienna and 
burnt sienna in oil in equal parts, shade with 
burnt sienna. 

Xew way to grain cherry over white or ligiit 
])aint: Stipple with burnt sienna in stale beer or 
ale; move the stippler slowly, and make as fine 
grain as possible. When dry give it a thin glaze 
with burnt sienna in oil, and when dry varnish. 

Another Way — For the ground work, take white 
lead, colored with burnt sienna — not too dark — 
using for graining color, burnt sienna with a very 
little burnt umber, stipple your work very finely, 
then wipe out your heart pieces, not too many, as 
cherry has but little grain. When this is dry, use 
the same colors for glazing as for graining coloi', 
only a little more umber. When dry follow with 
a good coat of varnish. 

Mahogany. — Ground orange red, 2 parts orange 
chrome, 1 part Indian red. 

Graining Color.— Can be used in oil or distem- 
per, 2 paj'ts Vandyke brown, 1 i)art burnt sienna, 
1 part burnt umber. 

Rosewood. — Ground deej) orange. 1 part 
orange chrome, 8 parts Indian red. 

Graining Color. — 2 parts drop black and 1 part 



45 



l»urnt limber, am be used in either oil or distemper, 

WEIGHTS OF PAINTS. 

Turpentine, 1 gal. weighs 5 lbs. 
Linseed oil, I gal. weighs 7^ lbs. 
Varnish, I gal, weighs 8 lbs. 
Japan, 1 gal. weighs 9 lbs. 
Pure lead mixed, 1 gal. weighs 20 lbs. 

LIST OF PRICES— HOUSE PAINTING. 

1 coat, new work 10 ets. per yard, 

1 -^ old '' 12 '' ^' 

2 "■ new •' 20 •• 

2 -^ old " 25 - - 

:i " new •* 28 •' 

J5 ^' old '• 82 -> '• 

Where two colors are used add 5 cents per yard, 
and each additional color 3 cents per yard. 

SANDING. 
2 coats paint, 1 coat sand 30c per yd. 

8 '' '^ 2 '- " 50c 

1 '• •' 1 •• " over sanded work 22«- '• 

2 '' '• 2 '' " 40c " 

Rough brick work', freestone, rough castings 
same price as over sanded work. 

For penciling brick work 15 cents per yard. 

Where the painters puttys nail iiolcs, &c.. a<ld 



40 



5 per cent., also if he has to clean ofE new work after 
plasterers add 5 per cent, to the hill. 

INSIDE WOKK. 

1 coat or priming on wood lOe per y(\. 

2 '' and sand papering, pnttyin<»:,tfec 22c " 

a - " '• " 3.0C " 

4 " '' " '^ 48c " 

IMITATION OI' AVOOD OK STONE. 

Common Graining 1 coat varnish 35c per yd. 

Fair '' 1 ' '^ 40c 

Fair " 2 '' rnbbed down . .55c " 

Best '' 1 '• '' 65c " 

Best •' 2 '' and rubbed 80c " 

ESTIMATING WORK. 

To make a proper estimate of work, a painter 
must know what a square of one hundred feet, or 
a yard of nine feet can be painted for, priming, 
second and third coats, as work is generally 
done. He must get the actual surface of the work 
to be painted, (take for instance the outside of a 
house,) get its length, breadth and heighth, and if 
there should be several heighths, measure each by 
itself; but be careful to get a correct measurement 
of the whole house in superlicial feet. 

Now you should notice the condition of the 
house, whether better or Avorse than the average 
run of houses; whether more difficult to set at. 



47 



You cau then calculate the price per square or 
\arcl, then by the whole number of squares or 
yards. 

On the inside of a house, take the same course. 
Take the measurement of the doors, if there be 
different sizes, measure each size seperately then 
by tlie number of that ^ize, then the same course 
by the widows, then figure the base, stairways 
closets and other parts not enumerated. And now 
after finding the wliole number of feet, divide this 
by t) which will give you the number of yards 
(^which is handier for inside work) in the whole 
job. Now consider at what price per yard it can 
be done for; you must have good judgment, if 
there l)e anything peculiar about the work make 
the proper allowance therefore pro or con. 

If you make an error in your judgment, you 
will either lose the job or lose money. 

Some do their estimating a little different, they 
n\ake allowance for extra work and trouble when 
measuring; take for instance a cornice, they will 
girth it from one and one half to three times its 
actual measure, according to their judgement of 
extra work or the amount of time consumed over 
plain work. 

Blinds, picket fence and lattice work may be 
measured one and one half times, some measure 
lattic work and blinds twice. 



48 



Therefore to estimate correctly on a 30b yoti 
must know just how many square feet there is in 
it and if anv peculiarities make the proper allow- 
ances. 

When this has been determined, you are pre- 
pared to give an honest and intelligent bid. 

TO PAINT PlyASTERED WALLS. 

Put on a coat of good oil paint, right on the 
bare walls; when dry, over this apply a coat of glue 
size just strong enough to stop the suction, if it i.s 
too strong, the paint applied over it is liable to 
peele off, if the size should want to crawl, a little 
alum will prevent it. This sizing coat if properly 
done, will save perhaps two coats of paint. Fin 
ish the last coat of paint as you desire. Can be 
made an egg; shell gloss, or a full gloss with varn- 
ish and oil added to the color. Kitchens, dinning 
rooms and halls look well in gloss, but other 
rooms look better with aflat surface. 

PAPER HANGING. 

To do a good job of paper hanging the most 
essential thing is to have good tools, for a good 
mechanic cannot do a good job with a poor outfit 
of tools. Good tools are the most satisfactory and 
cheapest in the long run. The tools should be an 
eight or ten inch bristle smoothing brush; a six- 
teen and a ten or twelve inch shears; a paper 
knife; a goqd rule; a seam roller; smoothing 



4!) 



roller, for borders and decorations; a strai^nt 
edge; plumb-bob; a three inch wall scraper; paper 
hoard; and ste}) ladders. These are the tools for 
general work. We next proceed with a pail of 
paste (previously described. ) Should the paper to 
be put on be a metallic, use a little carbolic acid 
in the place of the alum to keep from souring, as 
alum is liable to turn gilt paper dark. If the 
room to l)e papered is a hard .inish and not too badl}' 
smoked up, all that is neccessary to ])repare the 
walls is to sweep over witli a broom. If tliey are 
smoked and dirty, it is a good idea to go over 
them with a Meak glue and alum size. If the 
walls liave been papered before, go over and take 
all that is loose off with the wall scraper, if it is a 
fine paper you are going to hang, it is better to 
<lampen the old paper good and scrape all off, 
patch up all the l)ad places in the walls with plas- 
ter of Paris mixed with paste. If walls have been 
white washed, they should invariable be given 
a size with glue and alum, (previously described.) 
Having your walls ready, get the length that your 
paper Avants to be, cut two or three double rolls, or 
if for ceiling, enough to cover it, now turn your 
paper over, if your paper is already trimmed, put 
the trimmed edge toward you, push all the paper 
about one and one lialf inch l)ack from the edge of 
board closest to you, then draw first sheet over so 
it will come to edge of board, tliis prevents the 



piistc tVoin forming- on tiie trininuHl edges and 
making bad work, 

Some paper hangers never trim the paper until 
it is pasted, which is the best and neatest method, 
(but probably to the unexperienced the most diffi- 
cult.) They paste their paper fold top end two- 
thirds over, bottom end over to top. Be careful to 
get your paper folded smooth and the margin 
edges even; if a cheap paper, take your sixteen 
inch shears and trim; if ii is fine paper use straight 
edge and ])aper knife. 

Commence at an o];ening and hang the strips as 
nearly perpendicular as possible, 

Brusli the paper from the center down and to 
each side. If you have wrinkles in the paper draw 
it off to Avrinkic and brush down again, when at the 
baseboard run the })oint of your ten or twelve- 
inch sliears ahmg edge of base, draw paper off 
a])iece and cut it off nice and even, leaving no 
liaggled (M- uneven edges. When you come to an 
opening measure top and bottom of space, and 
after your slieet is pasted, folded and trimmed, 
split it to tlie widest space, and the surplus paper 
on casing you can cut it off, with paper knife, use 
it as you would a saw, or you can pull the paper 
off apiece and trim with shears. 

Take balance of slieet and proceed on other 
side of opening. Split your paper likewise for 



tlu' iiorncrs. Do not attfnipt to turn the paper 
around the corners, unless it \m a ver}' small edge. 

Cut the hordcr in such lengths as can l)e easily 
handled, say six or seven feet, (always cutting in 
the same figure), paste and fold up eaclt did, so 
the linci? will meet exactly and cut. In ])a]xring 
a ceiling have a scaffold formed of a couple of step 
hvdders and a plank. If it is to be a i)lain ceiling- 
strike a line across tiie en<l you wish to commence 
at, 1<S inches from wall and lay your first sheet by 
that. If you wish to ])ut on a stiling and mould 
or extension line your ceiling all around, the 
width you wish the stiling, and on the end you 
commence to lay on your •'field." Strike another 
line away from the stiling line a*< the width of 
your mould or extention. By this commence to lay 
your field by, this fre<juenth^ saves an extra sheet 
of ''field " paper. In hanging your "field" paper 
Imve your paper folded to renter, take a roll of 
j)a])er with your left hand, and catch under it, and 
with your right hand undo the right end of the ])a- 
per, (take care not to let it touch the other paper and 
blur it,) place the paper to its proper place with 
your right hand, holding up the balance with your 
left, then commence to smooth the pa))er nith 
your brusii, working from right to left, when mid- 
way undo the bottom end and proceed'as before. 
Be careful to get all edges fastened with brush or 
seam roller. 



r.s> 



Do not use paste too heavy as it is liable to scpieleli 
out at edges antl make bad work. 

SIZING FOR PINF: WOOD. 

Dissolve i 11) best clear glue by heating in on(^ 
gallon of stale beer, apply with soft bristle brusli, 
keeping the sizing hot while api)lying. If sizing 
is too thiek add more beer. 



PAr<x II. 

SKiN PAINTING. 

The sign painter finds the letters most used are 
the Roman, Italic, round and s(|uare block, the 
half block or Egyptian and script. 

The most ditiicult letter of all to make is the 
Roman. The Egyptian is easiest and most simple 
and most generally used by new begginers. 

The Italics have all the form of the Roman 
letters only slightly condensed, and at an angle of 
about sixty degrees. The lower-case Italics are 
seldom used by a sign painter, but is a good letter 
in show card lettering or wherever a (juick, off- 
hand letter is required. There is no rule govern 
ing these letters, if gracefully formed, and they 
may be crowded somewhat without spoiling their 
general appearance. 

The Block letter is the boldest of all letters, 
and is governed by the same rules in regard to 
spacing, heighth and breadth as the Roman capi- 
tals, but, unlike that letter, it nuiy be elongated or 
condensed to a great extent without injuring its 
appearance. 

The Egyptian ok Hai-k Block letter may be 
counted the sign [)ainter's stand-by or a sul)stitute 



54 



for all other letters, for when all otiiers fail for 
want of space or other reasons, they will be found 
to fill the requirement. When properly spaced 
and proportioned they are inferior to none 
for beauty, but as substitutes they may be con- 
densed or spaced out to fill every conceivable 
space, and crowded as they often are, they fill the 
position given them with beauty and grace. 

The Script letter makes a very beautiful sign, 
but it is very difiicult to execute, and but few sign 
painters make a specialty of it. But, as a general 
thing, there is not enough of it done, even in our 
larger cities, to afford a sign painter sufficient 
j)ractice to come to any degree of perfection. 
Good penmanship is not essentially necessary in 
order to become a good script ])ainter. Some of 
our best are ])oor penmen. Writing on a sign 
board is altogether difEerent from writing on 
paper. It is necessary, however, to have a pretty 
correct idea of penmanship of a good round text 
copy for your guide. As we have heretofore said 
that the Roman letters being the most difficult 
letter to make, as there are certain measurements 
for each letter. For instance, take the letters B, 
D, E, G, O, P, Q, R, T, and the character &, when 
properly made, will occupy one-eighth more space 
in width than in heighth; C, F, J, L, S, and Z, 
will occupy the same space in width as in heighth; 
A, K, N, U, V, X, and Y, one-sixteenth more 



space in width than in heiglith ; H, one-fourth more; 
M, one-third more; W, one-half more space in 
width than in heighth; I, two-thirds of its heighth 
in wddth. All round or oval letters as C, G, O, Q 
and S, should project a litte above and below the 
lines to make them appear equal in size. The 
upper parts of B, E, S and R should occupy a 
trifle less space on the main line than the lower 
part; the bar connecting the H should be a little 
above the center, also the center bars in the E and 
F; the curve for P should take up just half of the 
letter; the linishing bar of the G should be a lit- 
tle less than half its heighth; the upper portions 
of the Y should join the main body at one-half its 
heighth. The wddth of the main body of a Roman 
letter should be regulated by its heighth ; the 
main body should be one-iourth as wide as the 
letter is high and the fine lines one-twenty- fourth 
as wide. For instance, for a letter tw-elve inches 
high, the main body should be three inches wide 
and the fine lines one-half inch. The upper point 
of the A and the lower points of V, W and right 
low-er point of N should be the same width as the 
fine lines. 

8PAOIN(4. 

There is no rule for spacing" in sign painting to 
designate the exact distance between the letters 
forming a word or sentence. It is not in good 
taste to crowd letters too closely or to separat.e 



56 



them too much. In some cities where sign paint- 
ers are paid by tlie foot for lettering, many jobs 
are spoiled by being spread out too much in order 
to make a few feet more. Letters having small 
tops or bottoms should be placed nearer the pre- 
ceding and the succeeding letters than if both let- 
ters run parallel with each other. 

SPACING ON LARGE SIGNS. 

The painter has very often large signs on high 
and long walls, where your staging will not reach 
but a small portion' of the distance. In such cases 
it is necessary to ado})t some mode of laying off 
the work correctly without moving j^our staging 
or scaffold twice. In doing work of this kind I 
adopted the following rule : Get the length and 
width of your space to be lettered and the number 
of lines to be on it. Mark off a similar space on 
a piece of paper with a scale of one-fourth, one- 
lialf or 1 inch to foot as you like; then lay off 
your lettering just as you wish it to appear on 
the wall, taking great care to have your letters and 
spaces accurate. With this sketch and table of 
measurements you can commence at either end and 
carry as many lines as you have by adhering 
strictly to the above rules. 

ARKANGEMENT OF SIGNS. 

Tlie beauty of a sign depends upon the variety 
of letters used and their arraffement into lines. A 



o < 



very poor job of lettering if well arranged, will 
look much better than a good job of lettering 
poorly arranged. The repetition of the same kind 
of letters on two succeeding lines should be 
avoided. And two lines following each other 
should not be the same length. Where a sign is 
composed of several lines, curved or scroll lines 
may be introduced to good advantage; but they 
should be put in sparingly and gracefully, or in- 
stead of beautifjnng they will mar the design. 
For a sign of one line use the style letter most 
suitable for the space and the amount of matter to 
go on the sign. 

COLORING AND SHADING LETTERS. 

There is scarcely no limit in the variety of 
colors that may be used in sign writing. How- 
ever, much depends on the proper selections by 
the painter, and too often colors are put on wdth 
utter disregard to all the rules of harmony and 
good taste. White and black are the most used 
of all colors. A black letter on a white ground, 
and a white letter on a black ground are perhaps 
as often used as any other. For both, a white 
ground work is essential; the difference is while 
in the former the black letters are painted on the 
surface of white, while the latter is marked out 
and cut in around and tilled in wdth black; by this 
niQde you can gee your letter much whiter and 
your corners much sijuarer than by painting the 



58 



letters on the black. Modern sign painters have 
very generally adopted v\^hat is termed, the cut-in 
process where the letter is lighter than the ground 
work. Black, vermillion, Indian red, green and 
blue are the most common colors used for cutting 
in work. The color of the letters or ground pre- 
vious to being cut in can be white or any desired 
tint or two or more colors can be blended in on your 
sign, so airanged that part of your letter will be 
one tint and the other part another. An imitation 
of gold color is a very popular color and can be 
used with any of the above colors with good 
effect. 

SHADING FOR CUT-IN SIGNS. 

Where the ground is darker than the letter, the 
shading should be two or three shades darker than 
the ground work, unless the ground is black, then 
the shading should be some bright color, either in 
one color, line shade, or a blended shade which 
the new beginner will find the most diflicult of all 
shades to execute. This consists of a combination 
of colors and tints worked in and blended to- 
gether with a beautiful effect. This shade should 
join up to the letter, leaving no space between tlic 
letter and shading. 

SHADING FOR ORDINARY SIGNS. 

For a white ground and a black letter, the shad- 
ing should be some light tint of green, blue, red or 



59 



buff, but the most prevailing color is a light warm 
stoDB color. The depth of shade, whether on the 
left or right side of the letter which is optional 
wnth the sign painter, should be in proportion of 
one-fifth of the heighth of the letter, still it can 
be much heavier or lighter, and to look well 
should be a trifle heavier on the bottom parts of 
tlie letter than on the side. There sh'^uld be a 
space between the letter and the shade in the pro- 
portion of one-fourth inch to a six inch letter and 
one-half into a twelve-inch letter. Also what 
is termed a line shade ,may be introduced 
with good effect, and is made by running a line of 
color tw^o or three shades darker than the shading 
color on the inner side of shade next to letter, leav- 
ing the distance heretofore stated. 

A very nice ground for signs can be made by 
using some tint color as light blue, green, pink, 
buff or stone color; and where such colors are used 
for grounds and the letters black the shade color 
should be tw^o or three shades deeper than the 
ground. And if the line or blended shade is used, 
make two or three shades still darker. 

For a fancy letter either made of color, gilded 
on wood or glass, is what is termed a skeleton let- 
ter; the outside of the letter is composed of a line, 
for a six-inch letter the line should be one-fourth- 
inch thick and a twelve-inch letter about three- 
eiglith inch. The inside of letter can be filled 



60 



with any color or tint (that will harmonize with the 
other colors) and be sliaded as the outside is, only 
the shade should be on the opposite side from the 
outside shade. This kind of lettering is more 
difficult than the ordinary, as it takes greater care 
in laying off w^ork. 

HOW TO GILD ON WOOD. 

Use old fat linseed oil, the older the better, mix 
with chrome yellow, 'put in a little best Japan 
dryer, thin with turpentine. Apply for sign work 
with sable brush, as they are some stiffer tlian 
camel hair pencils. Let sizing stand until almost 
dry or as termed "tackey," then lay your leaf from 
the book ; when you have gone all over the sign, 
burnish over with cotton. If you have more than 
one line of lettering to gild you can use on part 
of the lines nickle leaf, or the lower half of a line 
can be gilded with nickle leaf and the top lialf 
with gold leaf or vice versa. Nickle leaf is very 
cheap and will stand the weather as well as gold 
leaf. The XX gold leaf or deep is the kind most- 
ly used by sign painters. Have the ground of 
yo ur sign flat or the gold will adhere to other 
parts than the letters. 

iinother formula for gold size is to take 4 ozs. 
powdered gum animi, 1 lb linseed oil; dissolve 
the gum animi in the linseed oil by heating it, 
stirring it constantly until the gum is dissolved 
Strain throutdi a coarse cloth. After it has boiled 



CA 



down to tl»o CDiisistcncv ot" stniincd honey, grind 
it ^vith clirome yellow enough to render it opaque^ 
add turnpentine to make it work freely under the» 
brush. 

Or another way is, take 1 oz. finely ground 
ochre, 2 ozs. copal varnish, 8 ozs. raw linseed oil, 
4 ozs. turpentine and 5 ozs. boiled linseed oil. 
If too thick to flow, add more turpentine. 

now TO Ai'Pi.y SMAi/rs ok flock. 
To smalt or flock a gold or color letter sign, 
use your color very heavy and slow drying, and 
be sure that your color is not fat or greasy or it 
will spi-ead and make ragged edges. When you 
have cut in all around your sign, lay it down 
placing large pieces of paper to catch the extra 
smalts; sprinkle on until the entire surface is Avell 
covered. In cut-in signs Avhere you smalt« or 
flock them care should be taken to have the ground 
work an egg shell gloss and perfectly dry, or when 
you apply your smalts or flock it will adhere to 
the letters, 

HOW TO MAKE SMAT/rS. 

You can make your own smalts at a cost of one 
cent per pound. Take any good fine sand, see 
that it is clean, put one-half gal. into a kettle, 
heat it hot; keep stirring it until it is perfectly 
dry, then put in about 2 ozs. mixed color, the 
color you desire; the color should be mixed in 



02 

good boiled oil; keep stirring it until the sand is 
colored evenly, then spread it out in the sun to 
c\ry, stir it up occasionally and it will be ready for 
use; you can add a small quantity of glass fronting 
if desired. 

Ti) ari.D ON (ILASS. 

To make your sizing, take a ])iece of isinglass 
about the size of a nickle and put in a pint of 
fresh rain water scalding hot, stir until the isin- 
glass is dissolved, then filter through filter paper; 
add one tablespoonful of good whisky, let stand 
one day before using. This size will keep a year 
if well corked up. Good clear, white glue, I think, 
is better than the isinglass; using a piece about 
the size of a silver dime for a pint of fresh rain 
Avater; mix and filter as the isinglass. Take a 
smooth ])iece of paper the exact size of your glass, 
proceed to lay off your design, puncture small 
holes tlirough paper on the outlines of letter; place 
the backside of design next to glass on opposite 
side from which you intend to lay your gold; hav- 
ing previously well cleaned your glass by taking- 
equal parts of nitric and acetic acid in the pro- 
])ortion of 1 oz. of each to a half pint of water. 
Rul) the surface of the glass with this, allowing it 
to remain a few minutes, then clean the glass in 
ordinary way, using soft water and whiting; when 
the whiting is dry wipe it off clean and polish with 
chamois skin; take good care to remove every 



(>:J 



])iirticlo of the wJiiting from the surface. Tlie 
})unctures through the design serve for a guide to 
lay the gold. AjDply the sizing with a tiat camel's 
hair brush and lay the leaf with a gilder's tip; 
take great care to lay the leaf as smooth as possi- 
ble. When the letters are all covered, let the 
glass get thoroughly dry by standing a few hours 
then burnish over witli raw cotton. Proceed as 
before to give the work the second coat of gold, 
only do not use as much size, and use great care 
not to rub over first coat of gold ])ut once as it 
will rub off if too much rubbing; when over the 
second time, let dry as l)efore then burnish again; 
then proceed to patch up small places where there 
is not but one coat of gold, by dampening with 
corner of brush, and laying small pieces of gold 
on; when dry burnish the patches over; lay the 
design right side next to the gold, then pounce 
over with pounce bag (which is made by tying 
up about an ounce of either whiting, ultrama- 
rine l)lue or Venetian red.) This gives an outline 
ot the letters, &c. ; then the sign is ready for back- 
ing up, which is done with asphaltum varnish or 
quick drying rubbing varnish mixed with dry 
lampblack and thinned with turpentine. When 
all the varnish is dry take a small piece of cotton 
and dampen it and rub off the surplus gold; when 
the sign is ready to shade, wliich is all backward, 
therefore laving on the darker shades next to 



VA 



letters first tljeii afterwards the lighter colors; 
finishiDg with the l)ack ground last. 

To keep the frost from peeling up the gold, 
after all is done and dry go over the whole with 
elastic varnish, running a little over the letters on 
the glass. 

It is a good idea to take a scrap of glass well 
cleaned and try your sizing before commencing 
work. If too thick, the gold, when hurnishecl with 
cotton, will look spotted. If too weak, the gold will 
rul) off when it is rul)l)ed with cotton. 

TO LAY PEARI, ON (II.A88. 

This consists of covering the interior openings 
of letters on glass where they are made on the 
hack side of the glass, with a very thin shell of 
pearl prepared especially for the purpose. Take 
a clean i)encil lirusli and a little clear damar var- 
nish and go over the openings of the letters two 
or three at a time, running a little over on the 
letter all around. Proceed to lay on the pearl 
carefully, breaking it to the proper size and fitting- 
it as closely together as possible until the opening 
is covered. When the varnish is dry the pearl is 
firmly attached. Now mix a little silver or pearl 
gray and coat over the pearl, covering all the open- 
ings. 

IMITATION PEAETi. 

To imitate ])earl for cheap sign work, such as 



65 



patent medicine advertisements, «&c., is made as 
follows: Coat the openings in the letters with 
silver or pearl gray color mixed with damar varn- 
ish, put on thin and transparent. When this is 
dry take tin foil and crumple it up, cut it to the 
size and lay it over the letters. A little varnish 
may be used to make it adhere. A light or medi- 
um color gold leaf is often introduced to fill the 
interior openings of gold letters on glass; by siz- 
ing over the openings of the letters with a little 
damar varnish, when almost dry, lay on the leaf. 
This gives the leaf a de:id finish and makes a beau- 
tiful finish beside the burnished gold of a deeper 
color. 

ADVERTISING SIGNS. 

To make a cheap sign on glass suitable for ad- 
vertisements, and where a number of the same 
kin. I is required, take a smooth piece of paper 
and cut it the size of the glass ; lay off your de- 
sign, making it backward, place the design on 
the back of the glass; having previously well 
cleaned the glass ; mix a little fine striping 
bronze with a little varnish and thin with turpen- 
tine. Proceed to outline the letters by the design, 
which is on the opposite side of the glass; when 
dry do the shading. A nice shade is made by 
running a line shade first next to letter with black; 
when dry go over with carmine shade, then extend 
to size wanted with vermillion ; for a green shade 



66 



proceed as the red, using the darker color next to 
the letter. For a blended shade lay on your back 
ground, leaving the space for the shade ; when dry 
proceed to put on the colors, working in the lighter 
shades first; for the back ground use black or 
some dark color as it is a better contrast to bright 
colors ; when all is dry make a transparent color 
by using soraetransparent colors, such as tube, 
carmine, ultramarine blue, verdigris green, (dis- 
tilled), &c., mixing with varnish, going over the 
interior openings of the letters ; when nearly dry, 
take tin foil, such as come around tobacco and 
cigars; crumple it up and lay over the letters, 
when your work is complete. 

GILDING AND PAINTING ON SILK. 

Having made a pricked pattern of the design,^ 
transfer the same on the silk, using a pounce bag; 
then go over the lettering, giving it a coat of Japan 
varnish, (this will not spread on the silk), a clean 
smooth edge can be made with it. Another way is 
to go over the silk with a coat of shellac varnish ; 
when this is dry it is ready to letter. For gold 
letters, size upon the Japaned surface with oil size, 
taking care not to let the oil get over on the silk : 
use the tip cushion and knife for laying the gold ; 
smooth the work with fine cotton. If the letters 
are to be shaded, first go over the silk with the 
Japan varnish or shellac varnish, following with 
the colors: high lights should be used on opposite 



67 



side of the shading on the edges of the gold let- 
tering to complete the job. 

TO GILD JAPAN TIN SIGNS. 

Some tins, owing to the imperfect baking, an; 
softer than others; this is more commonly the 
case with colored tins, which makes it difficult to 
make a nice clean job of gilding. 

The following method will be a good one : 
Clean your tin well with soft cotton; if more than 
one sign is to be made, make a pricked pattern 
and pounce upon the tin; if only one is to be 
made the sign can be laid off with chalk crayon, 
dust off with a soft duster and it will be ready to 
size ; which is made by taking 1 oz. of hard drying 
varnish, add about i oz, of fat oil and enough 
tube yellow to give it a body; use oil of turpen- 
tine to thin to proper consistency to work. When 
"tacky," which will be in ten or twelve hours, it 
will be ready to gild; use the knife and tip to 
lay the gold leaf; do not touch with the fingers, 
but rub with cotton and the chalk marks will dis- 
appear, leaving the tin clean. 

Another way to letter on Japan tin is to lay off 
your lettering or design on stiff smooth paper, 
(size of tin,) take and scrape off a little red keel, 
or rub over back of design with dry colors of 
some kind with finger or pounce bag. Then lay 
your pattern on tin, keel side down, and go over 



68 



the lettering or design with a lead pencil or hard 
pointed instrument, running the out-lines of let- 
ters, &c., when you will find a perfect transfer. 
Dust off the surplus keel or color with a soft 
brush and your tin is ready to size, which you can 
use one part elastic body varnish and two parts 
English Japan gold size, color with Naples yel- 
low. Use no turpentine as a thinner. 

SIGNS THAT READ THREE WAYS. 

Procure your sign board width and length 
desirable, have a band to project about one and a 
half inches, have slots cut in the sides of band to 
receive tins, say one and one half inches wide, 
cut the slots one and one half inches apart. 
Paint one sign on the board, lay the tins flat down 
and paint another on these, turn them over and 
paint another on the other side. When dry slip the 
tins in the slots. 

NEW PROCESS FOR LETTERING WITHOUT A BRUSH. 
ON WOOD, METAL AND GLASS. 

Lettering on glass to the ordinary sign painter 
is one of the most difficult branches of the trade, 
and most particular so when perfectly straight 
and clean lines are desired; but by following the 
directions below, almost any one with a little me- 
chanical skill and good taste can procure the most 
artistie effects. Burnish stripes and borders, either 
in gold or silver, can be produced without using 



69 



the genuine leaf, and at a very small expense. 
This new process can be used on wood and metal 
as well as glass and to good advantages. 

I will first begin by giving instructions for 
making the corrogated gold letter sign, which no 
doubt is the cheapest and best selling sign, made 
for show windows, &c. 

The tools that are required, is a sharp pointed 
pen knife, a few straight sticks of different widths 
and about 4^ or 5 inches long and made from a 
thin piece of wood, or an old cigar box is good, 
A straight yard stick, a piece of sole leather about 
2 inches square, a camel hair pencil and a i inch 
bristle brush, take a piece of glass the desired size, 
say 6x24 inches wash the glass perfectly clean, 
and then dampen with a soft sponge, using clean 
water only, cut off a piece of tissue tin foil (which 
can be procured of any large paint house,) the 
length of the glass and place it down as smooth as 
possible, and rub gently with a soft cloth or 
cotton. Now take a piece of writing paper and lay 
on it beginning at the left end, and rub all the 
water from under the foil towards the right, 
witli the piece of sole leather, then with a 
straight edge and pen knife cut out the bor- 
<ler for the sign, next cut out the silver to form 
the letters, the hcighth desired, then space off into 
blocks by using a soft lead pencil to be sure you 
get the spacing right, then out of the blocks you 
can form the letters, removing the surplus foil 



70 



with the point of the pen knife, then, with a nar 
row rule, cut out the centers of each letter and 
remove it from the glass leaving only a narrow 
edge or skeleton letter; then take a piece of dry 
paper and with one end of a wooden stick, burn- 
ish the letters down smooth, then the sign is ready 
to paint, which is done by the use of the camel 
pencil, and using coach black ground in Japan 
and mixed with turpentine and a little varnish. 
Have the paint thick enough to cover the glass. 
well. After all is covered except the centers of the 
letters, lay it down flat to dry, as the paint is liable 
to run otherwise. 

After the paint is perfectly dry varnish around 
the edges of the letters within J inch of letter and 
when almost dry or "tacky," you can fasten on the 
puff gold, by first wrinkling it with the fingers, 
and pressing down on the varnish. Gold surface 
foil for cutting borders and for the puff work in 
the corrugated letters, is made by coating the foil 
with a quick drying varnish or gold size, using a 
bristle brush, and when the size is "tacky" lay on 
''blue elephant florence leaf" and smooth down 
Avith a soft brush or a piece of cotton. 

Signs finished with pearl, flitters, etc., are done 
the same way as the above, except leave the letters 
solid instead of cutting out the centers. You 
should paint over the entire surface, and after the 
paint is dry, you can see the form of the letters 



71 



above the surface, and by using the point of the 
|3en knife, the letters can be removed; thus leav- 
ing a clean, perfect outline, which can be finished 
in any way desired, either colors, pearl or flitters, 
which are applied by coating the letters with 
•damar varnish and sprinkle them on while the 
varnish is wet. 

Beautiful effects can be produced by coating the 
glass with transparent colors mixed in varnish 
and backing up with gold or foil. 

Shading can be done in the most perfect man- 
ner by cutting the shade on. in different sections 
and removing the foil one shade at a time and by 



Wood or metal signs can be striped by simply 
wetting the surface of the foil and burnish. Pro- 
ceed the same as glass sign. 

By sharpening a pair of dividers, perfect circles 
can be made in any size, using a small piece of 
rubber to keep the point from slipping on the 
glass. The most perfect lettering, striping, &c., 
can be done by forming the design on brass signs 
arid painting over with asphaltum varnish and 
when dry, remove the foil: then proceed as here- 
after described. 

BRASS SIGNS. 

Paint over the sheet of brass with a good coat 
of asphaltum varnish, leaving the part to be itched 



72 



anpainted. If you make a border around your 
sheet of brass, make it about one-half inch from edge 
of sheet. You can use the tissue tin foil here to good 
advantage for the border and lettering, and coat 
over. When dry, run over the foil with the point 
of a knife. 

Raise a border around the outside edge of 
beeswax or asphaltum, to keep the acid in. Use 
nitric, diluted one part of water. Pour the acid 
on the sign about one-fourth of an inch deep. 
When the letters are all cut deep enough, which 
must be found by trial, and will take two or three 
renewals of the acid, then the acid can be poured 
off, and the plate thoroughly washed; then clean 
the asphaltum varnish off by lieating, and wash- 
ing with turpentine. 

The cement for filling the letters of brass and 
xinc signs is made by mixing equal parts of as- 
phaltum, shellac and lamp black, or black sealing- 
wax may be used. Apply by heating the plate 
and melting the cement in, and evening the sur- 
face with a warm iron. Then carefully scrape off 
the surplus, and again hold a warm iron over the 
letters to glaze the surface. 

Or, another formula, is to mix asphaltum, brown 
Japan and lamp black into a putty-like mass, and 
then fill the s])aces; then clean the edges with tur- 
pentine. When dry the whole plate can be pol- 
ished. 



73 



LAQUER TO COLOR TIN. 

Such as is used on signs, tin boxes, cans, &c. 
Take shellac three-fourths of a pound, gum san- 
darac three and one-fourth ounces, alcohol two 
gallons. Color to suit, either with analine colors 
Prussian blue, carmine red or gamboge yellow, or 
any transparent colors, ground very fine. Obtain 
the desired tint by trials, 

GOLD LAQUER FOR TIN. 

Use thin copal varnish, slightly colored with tur- 
meric, and baked in an oven. 

TO LETTER ON MUSLIN. 

1st. Mix the color with quick drying varnish 
and Japan and thin with turpentine. Dampen the 
muslin before applying the color. 

2nd. Stretch the muslin tight; go over it with 
a coat of ordinary starch, about the consistency for 
laundry purposes; when this is dry it is ready to 
letter. Mix color as above. 

3rd. By mixing the color with benzine and 
benzine Japan; the wetting process may be dis- 
pensed with. 

"nobby" numbers. 

Take common w^atch crystals, gild or paint the 
number on the hollow side; when dry give it a 
coat of ground; let dry and fill level with planter 
of Paris. If the number is to have a w hite ground 
it will not need a coating as the plaster of Paris 



74 



answers for a white ground ; they can be attached 
by a cement made of white lead and quick drying 
varnish. 

TO LETTER ON CARD BOARD. 

This is quite an important business in sign paint- 
ing line, and a skillful card writer will get up 
work very fast; and the cheaper work is what is 
termed "knocked off letters," which must be 
made with neatness and uniformity in slant: while 
card boards are mostly lettered with black, red or 
blue and a light tint color used for a shace. If 
the card board is colored use a shade color two or 
three shades darker than the ground. Mix your 
colors wnth a quick drying varnish and thin with 
turpentine; or, use asphaltum varnish and thin with 
turpentine. 

TO SHADE GOLD FIGURES AND DESIGNS ON GLASS. 

After the gold is laid and burnished down, 
transfer the design to the gold by means of trac- 
ing papers or a pricked pattern and pounce bag; 
take a hard pointed instrument and trace the out- 
lines of the figures; take two or three flat flitch 
brushes of different sizes and cut down the bristles 
to about one-third their usual length ; with these 
shade the design, rubbing out the gold entirely 
where the darkest shade wants to be made, blend- 
ing it off to the lighter shades. It is also essential 
to have several hard and soft wood sticks of vari- 



75 



ous sized points and a few needles tied together 
complete the outfit; and with a good knowledge of 
drawing the work can be easily accomplished. 
Back the work up same as gold lettering. 

COATING SIGN BOARDS. 

It is a very important thing in sign painting to 
have well coated boards; for a painted sign the 
ground should have a glossy surface. To prepare 
a ground of this kind, if a pine board, kill the 
knots with shellac varnish; or, if it is a rich piece 
of pine, the wliole board should have a coat; when 
this is dry give it a prime coat of white lead and 
boiled oil; let stand for twenty-four hours, then 
sand paper and putty all nail holes and rough 
places. For second coat mix white lead with one- 
fourth part boiled oil and three parts turpentine; 
if other color than white is to be used the second 
coat can be colored similar to finishing color; let 
this stand at least twenty-four hours, sand j)aper 
and it will be ready to give the third or last coat 
which should be mixed with white lead, three- 
fourths part of boiled oil and one part of turpen- 
tine. This will have considerable of a gloss, and 
with the turpentine it will make the lettering work 
better and is much less liable to crawl. 

For a gold sign the surface should have what is 
termed an egg-shell gloss; and, to make this, take 
white lead mixed with one-third boiled oil and 
two-thirds turpentine, with a small portion of 



76 



Japan dryer. This is for the third coat — the first 
and second coats should be mixed as above stated. 
It is a good idea to make the third coat a lead 
color, as the cutting in colors covers better, and 
the chalk marks for laying off the work show bet- 
ter, 

FOR GOLD SIGNS TO BE VARNISHED OVER. 

Give first, second and third coats as for a gold 
sign, (not to be varnished over.) For the fourth 
coat add a little more turpentine, and the fifth 
coat should be a good coat of color and varnish. 
When this is dry rub down to dead gloss with 
pumice stone and water and woolen cloth, after it 
will be ready to size and gild. Before sizing 
pounce over the surface with a little whiting to 
prevent the gold from sticking to the ground. 
Mix the sizing for this kind of work of four-fifths 
coach varnish, one-fifth fat oil and a small portion 
of chrome yellow, finely ground. Thin with tur- 
pentine, and when " tackey " it is ready to gild. 
The shading colors should liave but little oil in 
them, and they should l^e joined up to the letters 
wliich help to straighten them up. 

TO CRYSTALIZE OR CLOUD TINS FOR SIGNS, &C. 

Take 2 ozs. sulfuric acid, 1 oz. soft water, 1 ta- 
blespoonful of common salt; place the tin on the 
stove and warm it, (do not get too hot or will dis- 
color tin), pour the acid in a glass or porcelain 



77 



dish or cup, add the water, and just before using 
add the salt. While the tin is warm apply the 
mixture with a sponge tied on a small stick as 
speedily as possible. When over wash off with 
clean water, when the tin is ready for the colored 
varnish, using fine transparent colors, carmine, ver- 
digris green, (distilled), ultramarine blue, &c. 

Another method is, to place the tin plate, slight- 
ly heated, over a tub of water, and rub its surface 
with a sponge dipped in a liquid composed of four 
parts aqua fortis, two parts of distilled water and 
one part of common salt, or sal ammoniac, in so- 
lution. When the crystaline spangles seems to be 
thoroughly brought out, immerse the plate in the 
water, washing it with either a feather or a piece 
of cotton, taking care not to rub off the film of tin 
that forms the feathering. Then dry with a slow 
heat and coat with a laquer or colored varnish, or 
otherwise it loses its luster in the air. If the 
whole surface is not plunged at once into the 
water, but is partially cooled by sprinkling water 
on it, the crystalization will be finely varigated 
with large and small figures. 

now TO ATTACH WHITE ENAMELED T.ETTEKS TO 
WINDOWS, &V. 

Take a quantity of dry white lead and sift it 
through a seive, so it will be entirely free from 
lumps, then moisten it up with copal varnish and 
mix throughly until it becomes the consistency of 



78 



soft putty, when it is ready for use. Make only 
what you want to use that day as it dries out 
quickly and is not so good if it is softened with 
oil, turpentine or varnish ; though it may be soft- 
ened with either of these. 

The easiest and best plan for inexperienced 
persons, is to take a sheet of common manilla 
wrapping paper just the size of the window or 
glass, lay the paper down on a table and arrange 
the letters on the paper in the shape and space 
that you want them to appear on the window ^r 
glass; when all is properly arranged to suit, take 
a lead pencil and mark around each letter as they 
lay; then lift your letters up and paste or tack the 
paper on the inside of the window, which will 
show on the outside plainly. If the letters are to 
be put on wood or other surface than glass, then 
you will have to draw out on the board or sign 
that is to contain the letters, the plan of arrange- 
ment that you may prefer, straight or curved, 
with white crayon. Apply the cement to the back 
of the letters with a knife, laying on equally around 
the edges only, the inner edges as well as the out, 
and put tlie same on the outside of the window or 
surface, as above directed, in the space marked for 
it; then work the letters back and forth, up a,nd 
down, ])ressing them closely so as to expel the air 
and •^(•cuic a good adhension. Be careful to press 
the letter equally on top and bottom else it will 



79 

break. For large and heavy letters use small 
pieces of common beeswax (or in summer sealing 
wax) to keep the letters in proper position until 
the cement seta. After a couple of hours or so 
take a piece of wood, sharpen it on the end, keep 
the same wet, and clean away the supeifluous 
cement. Particular care should be taken to leave 
no openings between the letters and the glass, and 
especially around the top which would allow the 
water to run in between. For removing the en- 
ameled letters, the method most convenient is to 
scratch away around the edges all the cement you 
can from under the letters. Use for the purpose a 
very thin knife or a piece of thin sheet steel. 
You will soon reacli the soft part of the ce- 
ment; then cut away with a sawing motion, and 
twist them off. Do not attempt to pry them off 
else you will break them. If the cement should 
be very hard, use a little kerosene oil, which is ap- 
plied on the top edge of letter, so as to work in 
and soften the cement. 

A GOOD, CHEAP WASH FOR GROUND WORK, FOR AD- 
VERTISING SIGNS ON FENCES, BARNS, &C. 

Take 6 lbs fresh, uuslacked lime, add enough 
warm water to cover it, (and keep it covered with 
water while slacking), 19 ozs. boiled linseed oil, 
4 ozs. white burgundy pitch; dissolve the pitch in 
the oil, add to the lime, while it is slacking and is 
warm, add 6 lbs Spanish whiting and 1 gal. skim 



80 



milk ; stir well and thin to proper consistency with 
water. The above makes a good wash for out 
buildings. 

HOW TO MAKE YOUR OWN CUP HANDLES. 

As nearly all house and sign painters buy their 
coloring already ground, in one and two pound 
cans, and as the cans are of but little use, unl^s 
they contained handles, which make them very 
handy to the sign painter to mix small batches of 
color in, I have invented a handle which fills a 
long felt want. 

They are very simple to make, and in a few 
minutes time you can make, or have a tinner make, 
all that you would need for a year. Take a strip 
of tin or sheet iron (that will not break in bending 
it) from one- half to three-fourths of an inch in 
width; make a square angle one-half inch from 
end, which is to form the bottom A, then run up 
the length that the cup is high, make a short turn 
come down the upright piece one-half inch, make 
another short turn running back to top B, thence 
out, forming the oval or finger holt C, come back 

1^^ V. to upright piece and on to bottom 

" C) running around bottom A, press the 

y^ metal together at A and the handle 
will be completed. To adjust to cup 
lie top edge of cup in the slot 
then slip projection A under cup, 
Tiie material you can find at any tin shop in the 



yT will be 

I place th 

e=:^ at B, th( 



81 



wav of scraps, and by the aid of a pair of pliers 
and a pair of shears you can make them very fast. 
You should make three or four different sizes to fit 
the different sized cans. 

STENCIL CUTTING. 

Advertising signs are extensively used, and 
where a sign painter has a number of the same de- 
sign, and, owing to the cheapness which such work 
must be done, the painter would find very slow 
work to letter by hand ; so by cutting a stencil of 
the design and stenciling the letters on, the work 
may be done very rapid. Take a piece of oj^aque 
window shading the size of tJie sign board, leaving 
about one and a half inches all around for frame, 
laying off your lettering, &c., with lead pencil ; pro- 
ceed with the point of a sharp knife to cut out the 
letters^ using care to leave small bars so parts in 
the center of letters will not fall out and spoil the 
letter. A little practice will enable the new^ begin- 
ner to become etficient in that part. This stencil, 
if properly used, will last to make several hundred 
boards. Use a regular stencil brush which is 
square on the end. In stenciling bring the brush 
square down on the letters; do not rub the brush 
along, else you run the color under the stencil and 
blur the letters and spoil the stencil. The color 
should be heavy and used sparingly. To handle 
the stencil more handily, make a light frame to 
extend at least around one side and both ends; 



82 



tack the goods on frame so one corner of the sign 
board will come in some one corner of the frame. 
In that way you can work in two or more colors 
in the lettering by having a separate stencil for the 
part or parts of letters for each color; and so ar- 
range the stencil on the frame so the letters will 
come in the proper place when the corner of the 
sign board is placed in the corner of the frame 
which you have lieretofore used. Heavy paper, 
well oiled, makes a very good stencil, but is not as 
strong as the opaque shade goods. 

Or, take a heavy piece of manilla paper, a day 
or so before using it, tack it up some where, and 
give, on both sides, a good coat or two of boiled 
linseed oil. Tliis toughens the paper and makes it 
pliable. Stencils should be cut out on a piece of 
glass to have smoothe edges, otherwise the^ will 
be rough. 

STENCIL COLORS, 

To be used on a painted surface and varnished 
over, should be mixed with turpentine and 
enough varnish to prevent the color from spread- 



PRICE LIST OF SIGN PAINTING. 
WOOD OR ZINC SIGNS, COLORED LETTERS. 

Plain grounded or smalted per lineal feet, 20 
cents, each shade 5c extra. 



8;^ 



WOOD OR ZINC f^UiNIS IN GOLD AND f^MALTED. 

4 to H inch letter, per lineal foot $ oO 

5 " 10 ' $ HO 

12 'M8 '• '• $ !^0 

18 "24 '• .$1 20 

LETTERING ON GLASS IN COLORS. 

.'> to 12 inches plain, per lineal toot I 2;') 

Shaded $ :^<> 

Fancy shadinu; " '' *• $ 40 

LETTERING ON GLASS IN GOLD. 

.') to S inch letter, per lineal ft. Plain .$ 90 

S "12 " •• " ' •$ 1 00 

One shade 'Extra .$ 10 

Two " '• '^ '' •' $ 25 

Fancy" $ ^0 

DRUM OR SIDE SIGNS. 

Per square foot, $2. 

BRASS SIGNS. 

Window plates, 9 inches wide, $2.50 per run- 
ning foot; ten to 14 inches, $3.50 per running 
foot; brass drum or side signs in brass, $3.50 per 
square foot. 



PART III. 



Ivdll SCEXjIj.^3lTBO-CrS 



ETCHING ON GLASS WITH ACID. 

This, strictly speaking, cannot be called a branch 
of sign painting, but a thorough knowledge of it 
Avill be an advantage to every sign painter. It 
consists of engraving or cutting letters, numbers 
and ornaments on glass, either colored, plain or 
ground, for doors, offices, vestibules and churches, 
by which process it can be done cheaper than the 
usual mode of grinding. There are two kinds of 
colored glass. One is colored entirely through 
the glass, while the other only on one side; the 
latter is only suitable for etching purposes. To 
proceed, first make a pricked pattern of your let- 
ters or design and pounce it on the colored side of 
the glass, (if it be a colored glass), tlien cut in the 
letters carefully with a protective varnish, which 
is made with equal parts of asphaltum and para- 
fine or virgin wax, mixed hot, and thin with tur- 
pentine. When this is dry take beeswax and make 
a raised border all around the out edge of the 
glass; then pour on hydrofluoric acid until the let- 



85 



ters or parts which it is on is all covered. Let it 
remain until the colored portion of the glass is 
eaten through, then pour ofE tlie acid and wash 
well with water; remove the beeswax edge, then 
the protective varnish, and the letters will be clear 
while the balance will be of the original color. 
Work can be done on ground glass in the same 
manner as on stained, colored or plain glass, the 
letters being cut in and the balance of surface 
filled in with the protective varnish. The acid 
will dissolve the ground surface, leaving it clear, 
and when the varnish is removed the letters will 
be clear, while the rest of surface is ground; or, 
you can take a plain, clear glass, lay off your de- 
sign and cut in with protective varnish, &c., as 
alx)ve directed; and when the acid has eaten into 
the surface pour off and clean the glass well with 
water and remove the varnish; then take flat pieces 
of brass large enough so it will pass over the let- 
ters and not dip into them ; take flour of emory 
and keeping it wet you can grind the whole sur- 
face A^ery quick, the letters liaving been eaten be- 
low the surface. As hydrofluoric acid is destruc- 
tive to glass, it must be kept in lead or gutta 
percha bottles. 

POIICEI.AIN (III.DING. 

Dissolve in boiled linseed oil an equal weight, 
either of copal or amber ; add as much oil of tur- 
pentine as will enable you to apply it as thin as 



86 



possible to the parts intended to be gilded. The 
ware is to be placed in a stove until it will almost 
burn the fingers when handled ; at this temperature 
the size becomes adhensive and the gold leaf ap- 
plied the usual way will stick. Dust off the surp- 
lus portions of tlie leaf and when cold it can be 
burnished, placing a piece of India paper between 
the burnisher and the gold. 

HOW TO MAKE PHOTO-OIL MINIATURES, 

This work is all the rage in some cities, and 
while it does not come under the head of sign 
painting, any person with degree of skill and a 
knowledge how to mix colors, with a little 
practice, can soon produce good work. First 
take your photograph, and if mounted on card, 
soak in warm water until the print will readily 
come off of the card, then dry the print and paste 
on the hollow side of a concave glass, which are 
made purposely for this kind of work and can be 
procured at an artist's or photographer's supply 
store ; use paste made of common starch ; apply to 
front side of print and also to the glass, taking 
great care to get all of the small blubbers and 
small particles of paste which will require con- 
siderable of rubbing ; let it dry and take two parts 
of sweet oil and one part of oil of lavender and 
pour on the })rint and let it stand until the print 
becomes thoroughly transparent; then pour off the 
oil and wipe with a clean rag or piece of chamois 



to take off the surplus oil. Take another glass 
like one already used, place it on back of print 
and when properly fitted commence your painting; 
use tube colors and small brush. Commence with 
the face, make it a flesh color; and the hair, mak- 
ing it as well as the eyes, dress and drapery as 
near the color of the original as possible ; then 
give the back ground a dark drab color; when 
this is dry cut a piece of card board the size of the 
glass and lay it on the back; then take gummed 
or pasted strips of paper about f of an inch wide 
and run around the edge of card board and let it 
lap over or around on tlie front glass about one- 
eight of an inch, thus keeping the card board and 
glass in proper place. This completes the picture 
ready for framing. 

NEW METHOD FOK PATNTlN<i ON VELVET. 

Although simple, is far superior to Kensington 
painting, and can be handled in any manner that 
the velvet will stand without injury to the paint- 
ing. First trim your brush with a pair of scissors 
until the hair in the brush is only one-eighth of an 
inch in length, make it round at the point. Place 
your tube paint on a piece of ordinary lilotting 
paper, to allow the oil to be soaked up; then liav- 
ing previously stamped your design on tlie velvet, 
dip your brush in the paint and proceed to comb 
the nap of the velvet with the stiff l)rush you have 
trimmed for the purpose. Tlie depth of the shad- 



88 



ing you will find to be proportional to the number 
of times you have applied the brush in the manner 
described, as the combing of the nap with the stiff 
brush simply stains the nap and leaves it flexible, 
and of course more durable than any other pro- 
cess. 

HOW TO DO WET STAMPING. 

Take French zinc ground in oil, thinned with 
boiled linseed oil to the thickness of heavy cream. 
Lay pattern on goods and apply the paint with a 
case knife to the smoothe side of the pattern, clean 
the pattern with a brush and gasoline. 

TO SILVER ON GLASS. ^ 

I. Dissolve 12 grains Roschelle salts in boiling 
water, then add while boiling 16 grains of nitrate 
of silver, having been previously dissolved in one 
ounce of water; continue to boil for ten minutes, 
then add water enough to make in all 12 ozs. 

II. Dissolve 1 oz. nitrate of silver in 10 ozs. of 
water , then add liquid ammonia until the nitrate 
of silver is nearly, but not quite, dissolved, then 
add 1 oz. of alcohol and sufficient water f© make 
in all 12 ozs. 

To Silver:— Take equal parts of Nos. 1 and 2, 
mix thoroughly, then pour upon the glass in the 
same manner that a photographer applies his solu- 
tions. It should be applied while the glass is 
wet; the glass sliould be previously well cleaned. 



89 



Distilled water should be used in making the solu- 
tions. The solution should stand two or three 
days before using. 

TO SILVER BY HEAT. 

Dissolve 1 oz. silver in aqua fortis and precipi- 
tate it with common salt, to which add ^ lb. sal am- 
moniac and white vitriol and ^ oz. of corrosive 
sublimate. 

TO SILVER GLASS WITH QUICKSILVER. 

Lay a piece of tin foil (not lead foil) on a 
smooth flat surface and pour mercury over it to a 
depth of one-sixteenth or one-eighth of an inch. 
Slide the perfectly clean glass plate over it with 
the advancing edge just below the surface of the 
mercury, so as to bring a new surface of amalgam 
against the glass. Then leave the glass for a 
while under pressure, and finally place it on edge 
to drain. 

(K)OD LAQUER FOR BRASS. 

Take ^ oz, best shellac to 1 pt. 95 degrees alco- 
hol. Let it stand a few days in a well corked 
bottle, then decant the pure tincture; when settled 
it should look clear like wine; thin if required by 
adding more alcohol. Thin laquer makes the best 
finish. 

TO TAKE OIL AND RUST STAINS OUT OF MARBLE. 

Apply common clay saturated with benzine. If 



90 



tlie grease has remained long enough it will have 
Ijecome acidulated and may injure the polish, but 
the stain will be removed. 

Another formula is to take 1 oz. of ox gall, 1 
gill of lye, li tablespoonfuU of turpentine, mix 
and make into a paste with pipe clay, put on the 
paste over the stain and let it remain for several 
days. 

Iron rust or ink spots may be taken out by tak- 
ing half an ounce of l)utter of antimony and one 
ounce of oxolic acid, and dissolve them in one 
pint of rain water; add enough flour to bring the 
mixture to a proper consistency to lay it evenly on 
the stained part with a brush. Let it remain a few- 
days, wash off, and if not Avholly removed, repeat 
the process again. 

TO REMOVE INK STAINS FROM WOOD. 

Apply spirits of salt with a rag until the spot 
disappears, then wasli immediately with clean 
water. 

TO KEMOVE INK STAINS FROM CARPETS. 

Take solution of oxalic acid or citric acid and 
follow up witlwi copious wasiiing with cold water. 

HOW TO MAKE OLD PICTURE FRAMES LOOK AS 
NICE AS NEW. 

Varnish the frame, and while the varnish is 
fresh, sprinkle clean, coarse sand upon it; let it 
stand until dry, then give another coat of varnish 



91 



over the sand, and, when almost dry, bronze over 
with good gold bronze. A more beautiful effect 
is obtained l)y only sanding part of the frame. 
This can be done by only varnishing such parts as 
you wish to liave rough. Other parts can be fin- 
ished in plain bronze, imitation ebony, walnut or 
cherry. 

PICTURE FRAME MAKER'8 PUTTY. 

Take whiting, glue and water, worked very stiff. 
The mould should be oiled. If you wish it to dry 
slow% add a few drops of glycerine to the putty. 

TO VARNISH DRAWINGS, &C. 

Dissolve one ounce best isinglass in a pint of 
water by simmering it over the fire; strain it 
through a fine muslin and keep it for use. Try 
the size on a piece of paper, moderately warm. If 
it glistens it is too thick and requires more water. 
If it soaks into the paper it is too thin and needs 
more isinglass — it should merely dull the surface. 
Then give the drawings two or three coats, letting 
it dry between each coat, being careful — particu- 
larly the first coat — to bear very lightly on the 
brush, which should be a camel hair, from which 
tlie size should flow freely. When dry, take best 
mastic varnish and give three coats. This is the 
method used by tlie most eminent artists. 

LIQUID GLUE. 

Take a wide mouthed bottle and dissolve in it 



92 



8 ozs. best glue in half pint of water, by setting 
in a vessel of water and heating until dissolved. 
Then add, slowly, 2i ozs. strong nitric acid of 
36 ° Baume, stirring all the while effervesence 
takes place with generation of fumes. When all 
the acid has been added, allow it to cool. Keep it 
well eorked and it will be readv for use at any 
moment. 

GOOD MUCILAGE. 

Take gum dextrine two parts, water five parts, 
acetic acid one part; dissolve by aid of heat, then 
add one pait alcohol. 

RUBBER CEMENT. 

Fill a bottle one-tenth full of real India rubber 
cut into small pieces, pour in benzole until the 
bottle is three-fourths full. Shake every day until 
tlie mixture is as thick as honey. It is useful in 
mending rubber goods, leather straps, &c. 

CEMENT TO FASTEN RUBBER TO IRON. 

Take piich and gutta percha, equal parts, and 
melt together. 

CEMENT TO FASTllN WOOD TO METAL. 

Add a small per cent, of glycerine to glue will 
make wood adhere to metal. Or, a small amount 
of molasses added to glue will act in the same 
way. Tannin added to glue makes it strong and 
adherent. Bichromate of potash renders glue 
water proof. 



93 



A GOOD CEMENT FOR VARIOUS PURPOSES. 

Procure a lot of old paint if possible, the skins 
forming on top of paints, settlings from the bot- 
tom of paint pots or any refuse that contains oil, 
zinc or other mineral body, may be used. Reduce 
this mass, if hardened from standing exposed to 
air, by soaking in some cheap oil. Heating may 
be resorted to if the hard paint cannot be softened. 
When the whole mass has become soft enough to 
be stirred, more oil may be added, and the whole 
worked through a seive and then run through an 
ordinary paint mill. 

A quantity of whiting is next worked into the 
paint until almost thick enough for glazing pur- 
poses. Then add a quantity of good Portland ce- 
ment, sufficient to bring the putty to consistency, 
which will enable it to be handled readily, when 
it may be worked into cracks of brick or stone, 
and, when allowed to dry and harden, it will be- 
come nearly as hard as iron, impervious to mois- 
ture and any reasonable degree of lieat. 

CEMENT FOR STOVES, &C. 

A good cement to close cracks in cast iron 
Steves and stove pipe may be made l)y sifting wood 
ashes, and take equal quantity of pulverized clay 
and a little salt, moisten with water to make a 
paste, and fill the cracks while the iron is cold. 
The cement will neither peel nor break, and be- 
comes verv hard after heating. 



94 



TO TRANSFER ENGRAVINGS TO GLASS. 

Clean your glass perfectly clean, and varnish 
with copal varnish. Lay the engraving on the 
glass and rub down well, taking care to rub all the 
air bubbles out. Let this stand for twelve hours 
or more. Then wet the paper thoroughly with a 
solt sponge or cloth and it will be easily removed, 
leaving the impression perfect upon the glass. 
You can back up with white or any color to suit. 
If your picture is colored, add about one gill of 
vinegar and one teaspoonful of salt to the water. 

TO ETCH ON STEEL. 

Mix one ounce blue vitriol, one-fourth ounce of 
powdered alum and one-half teaspoonful of salt 
reduced to powder, with one gill of vinegar and 
twenty drops nitric acid. This liquid may be used 
either for eating deeply into the metal or for im- 
parting a beautiful frosted appearance to the sur- 
face, according to the time it is allowed to act, 
by coating the steel with parafine or beeswax and 
parts to be etched. Scrape away with a pointed in- 
strument. Or, smear over with soap, and write 
with a quill pen not split. 

TO GLAZE OIL PAINTINGS. 

Take of mastic six ounces, pure turpentine one 
Jialf ounce, camphor two drachms, spirits of tur- 
pentine nineteen ounces; add first the camphor to 
the pure turpentine. The mixture is made in a 
water bath. AVhen the solution is effected, add 



95 



tlie mastic and the spirits of turpentine near the 
end of the operation. Filter through a cotton 
cloth. 

TO CLEAN CARPET8 ON THE FLOOR. 

Take a pail full of water and add three pints of 
oxgall, wash the carpet with this until a lather is 
produced, then wash off with clean water, then let 
dry. 

TO PERFORATE GLASS. 

To make a small hole in a piece of glass is a 
comparatively simple matter. All that is required 
to do it is a very hard, sharp drill and some means 
for turning it, and a lubricant, such as turpentine 
to cause the drill to cut rapidly. A drill made in 
the usual form from steel wire or an old file and 
hardened by heating it until it is a dark red, and 
then plunged into mercury, will be very hard but 
not tough. But, before the drill is heated, it 
should be driven into a block of lead so that its 
point will just be enclosed by the lead; and after 
the drill has been hardened in the mercury, its 
point should be inserted in the indentation in the 
lead, and the temper of the shank of the drill 
should be drawn over a lamp or gas flame to a 
blue color, to within a short distance of the lead. 
The drill, together witii the lead, should be 
plunged into cool water. The lead prevents the 
drill point from becoming heated sufficient to 
draw the temper, by conducting it away as fast as 



96 



it arrives at the point. The drill prepared in this 
way should be wet with turpentine while in use to 
cause it to take holt. It is advisable to drill from 
opposite sides of the glass when possible. A good 
drill stock can be made to operate the drill by 
taking a round piece of wood say one inch in di- 
ameter and twelve inches long; at top end should 
have an oval knob made to turn, which is held in 
the hand. At four and one-half inches from top 
should have a hole in stock, which should tightly 
fit an arm about six inches long, with a weight to 
outer part of arm. Place the drill shank in bot- 
tom of stock, place your hand on top of stock, 
and keep the drill revolving by means of the 
weighted arm. By a little practice it will be an 
easy matter to cut a hole through a piece of glass, 
which very frequently becomes handy to sign 
painters to make hanging glass signs. 

TO REMOVE PAINT OR GREASE SPOTS FROM CLOTH. 

Use benzine or chloroform. First apply it in a 
circle all around the spot without touching it, 
then sponge ofE the spot. Never put it direct on 
the spot or you will produce a ring-shaped stain. 

STICKY FLY PAPER. 

A sticky fly paper can be made, which will be 
very desirable in the varnish room, as follows: 
Take three and one-half ounces raw linseed oil, 
one pound resin and three and one-half ounces 



97 



m classes and dissolve all together by heating, and 
spread on papar with a stiff brush. 

Or, another formula is to take resin 14 parts. 
Burgundy pitch 4 parts, molasses 4 parts and lin- 
seed oil 4 parts. Dissolve the resin and* pitch in 
the oil by heating, then add the molasses. Use 
heavy calendered paper, or in a few days the paper 
will be sticky on both sides. 

RUBBER STAMP INK. 

Take 2 to 4 drachms of aniline, (desired ehade)^ 
15 ozs. alcohol and 15 ozs. glycerine. Pour the 
solution on the pad and rub in with a brush. An- 
other way is to take 1 part gelatine. 1 part M^ater, 
6 parts glycerine and sufficient coloring of ani 
line. 

MARKING INK. 

For the use of a brush, is made witli 2 oz. shel- 
lac, 2 ozs. borax, 25 ozs. water, 2 ozs. gum Arabic, 
color with lamp black, adding until the proper 
consistency. Can be used for stencil ink by being- 
made somewhat thicker. 

BLUE-BLACK COPYING INK. 

Take of aleppo galls, bruised, 9 ozs., bruised 
cloves 2 drachms, cold water 5 parts, sulphate of 
iron 3 ozs., sulphuric acid 70 minims, sulphate of 
Indigo (thin paste) 4 drachms. Put the galls and 
cloves into a gallon bottle and pour in the water, 
shake often and let stand for a fortnight. Press 



98 



out and filter out through filtering paper into an- 
other gallon bottle. Next add the sulphate of 
iron; when dissolved add the acid and shake brisk- 
ly, then add the Indigo. Mix well and again filter. 
Keep into a well corked bottle. 

WHITK WRITING INK FOR DARK PAPER. 

Use Chinese white, rubbed up with gum Arabic 
water. Or, for blue paper, use a solution of oxalic 
acied (poison). Use a gold or quill pen. This 
last is an excellent method for writing white on 
blue paper, and it gives a permanent ineffaceable 
record. 

TO PREPARE CANVAS FOR PAINTING. 

Size with thin glue size, with about one ounce 
alum to the gallon of size. Then apply moder- 
ately thick two or three coats of white lead, col- 
ored to suit. 

TO REMOVE TOBACCO STAINS FROM PINE FLOORS. 

Take one part calcined soda and allow it to 
stand f of an hour in 1 part slacked lime, then 
add 15 parts water and boil. Spread the solution 
thus obtained upon the stains, with a rag, and 
after drying, rub with a hard brush and fine sand 
and water. 

A solution of 1 part concentrated sulphuric acid 
in 8 parts of water will enliven the wood after the 
above application and when dry wash the floor 
with clean water. 



99 



TO OXIDIZE SILVER, A GLOSSY BLACK. 

Use a solution of sulphide of potassium; polish 
the metal before, and rub with a soft rag or 
chamois after the immersion. To oxidize copper 
or orvide to imitate bronze, use the same ba'h 
only have it quite dilute. If for out side work, 
simply oil with olive oil and let the weather do the 
rest. 

SOLUTION FOR COLORING BRONZE HINGES, &C. 

Take 1 pt. water, 5 drachms perchloride of iron. 
The article must be perfectly clean and dipped in 
the hot solution until the required color is ob- 
tained. Then dipped into clean hot water. Dry 
and laquer. If only a varnish is required, use 
clear shellac varnish, color with dragoon's blood 
gum and burnt umber. 

PAINT AND GREASE ERADICATOR. 

Take of aqua ammonia 2 oz. ; soft water 1 qt. ; 
saltpeter 1 teaspoonful, shaving soap in fine shav- 
ings 1 oz. Mix and when dissolved well, w^ll be 
found an excellent grease and paint remover. 

TO REMOVE STAINS FROM "BROWN STONE.'' 

Dissolve rock potash in boiling water, making 
a strong solution, and apply to the stained or dis- 
colored parts. 

LIQUID STONE POLISH. 

Mix 2 parts copperas, 1 part of bone black, 1 of 



100 



pulverized graphite, with sufficient water to form 
a creamy paste. 

IRO.V PUTTY FOR STEAM JOINTS. 

Is made by mixing dry, 2 parts good metallic 
paint, 1 part litharge, 3 parts of fine iron filings. 
To this add boiled linseed oil and mix to the con- 
sistency of stiff putty. 

CLEANING AND POLISHING PASTE, FOR BRASS. 
NICKLE, SILVER AND ALL KINDS OF METAL. 

Take oxalic acid 1 oz., iron preoxide 15 oz., 
powdered rotten stone 20 ozs., palm oil 60 ozs. and 
vaseline 4 ozs. Pulverize the oxalic acid and iron 
preoxide and rotten stone, and mix thoroughly 
and sift to remove all grit; then add gradually the 
palm oil and vaseline, mixing thoroughly. 

LIQUID BLACKING 

That will make a good and quick shine. Take 
gum shellac 1 oz., dissolved in one and one-half 
pints of alcohol; then add three-quarters of an oz, 
gum camphor and one oz. lamp black. 

TO GLUE LEATHER OR WOOD TO IRON 

Take good, tough glue, add 12 drops of glyce- 
rine to the half pint of glue. The iron should be 
made perfectly free from oil or dirt, and the part 
to be glued should be thoroughly scratched over 
with a file. Then apply a solution of one part of 
nitric acid and one part of water, to deaden the 
surface, let stand for a minute or so then wash off 



101 



with hot water to free it from the ucid. Then 
proceed as ordinary gluing. 

TO (WM LABELS. 

Take dextrine 2 pares, acetic acid 1 part, water 
5 parts, and alcohol 1 part. 

Another formula is to lake gelatine 2 parti, 
rock candy 1 part and water 3 parts. Dissolve 
and it is ready for use. 

LIQUID BLUEING FOR LAUNDRY WORK. 

Take 1 oz. soft Prussian blue, powder it and put 
into a bottle with 1 qt. of clear rain water, and 
add ^ oz, oxalic acid. A teaspoonful of this is 
sufficient for a large washing, 

GLOSSING CUFFS AND COLLARS. 

Pour 1 pt. of boiling water upon 2 ozs. gum 
arable, cover it over and let set over night. Use a 
tablespoonful of this in the starch. 

A GOOD HARNESS GRASS, 

Take 1 qt. Neat's foot oil, 4 oz. beef's tallow, 
and 3 tablespoonful of lamp black; add 4 pz. of 
beeswax for summer use, 

BOOKBINDERS GLUE FOR TABLETS. 

Take 5^ lbs. best dry glue and 1 lb. glycerine, 
soak the glue for an hour or so and heat to solu- 
tion and add the glycerine. If too thick add 
more water. Color with aniline dissolved with 
alcohol. 



102 

TO MAKE COUGH CANDY, 

Take tincture of squills 2 ozs., camphorated 
tincture of opium and tincture of tolu each i oz., 
wine of spicac i oz., oil of wintergreen 4 drops, 
sassafras oil 3 drops, anise seed oil 2 drops. 

Put the above mixture into 5 lbs. of candy 
which is just ready to take from the fire, and then 
boil a little longer. 



INDEX. 

PAGE. 

A Good, Cheap Wash for Ground Work, for 

Advertising Signs on Fences, Barns, <fec. . . 79 

Advertising Signs 65 

Arrangement of Signs oG 

Adulterations for White Lead 19 

A Cheap Fire-Proof Roofing IT 

Adulterations that may be used in Mixing 

Paints e 

A Good Harness Grease 101 

A Good Cement for Various Purposes 98 

Brass Signs 71, 72 

Blue Stain 42 

Birch Stain 41 

Book Binders Glue for Tablets 101 

Blue-Black Copying Ink 97 

Coating Sign Boards 75 

Coloring and Shading Letters 57 

Cherry Stain 40 

Care of Brushes 34 

Cheap Putty for out or Inside 35 

China Gloss White 29 

Carriage Top Dressing 22 

Copal Varnish 21 

Cheap out side Paint 18 

Cheap Wood Filler 5 

Composition Oil for Mineral Paints 5 

Cheap Elastic Oil for Painting 4 



n 

PAGE, 

Cleaning and Polishing Paste 100 

Cement for Stoves, &c 93 

Cement to Fasten Rubber to Iron 92 

Cement to Fasten Wood to Metal 92 

Etching on Glass with Acid 84 

Estimating Work 4ii 

Ebony Stain 41 

Frosting 38 

For Gold Signs to be A^arnished over 76 

Float jVIarbelizing 36 

Furniture Polish 37 

Fire-Proof Paint 17 

Formulas for Mixing Colors, 

7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17 

First-Class Priming 3 

Gold Laquer for Tin 73 

Gilding and Painting on Silk 66 

Green Stain 42 

Graining Grounds and Graining Colors — 42, 43, 44 

Gold Paint 34 

Good Paint for Shingle Roofs 29 

Government White Wash 28 

Good Paste for Paper Hanging 25 

Glossing Cuffs and Collars 101 

Good Mucilage 92 

Good Laquer for Brass 89 

How to do Wet Stamping 88 

How to make Photo-Oil Miniatures — 86 

How to make your ow^n Cup Handles 80 

How to Attach White Enameled Letters to 

Windows, &c 77, 78, 79 



Ill 

PAGE. 

How to Gild on Wood 60 

How to Apply Smalts or Flock 61 

How to make Smalts 61 

How to make Japan Dr5'er 22 

How to make Gloss Varnish 22 

How to Dissolve Paint Skins 6 

How to mix AVater with Oil * 5 

How to make Old Picture Frames Look as Nice 

as New 90 

Iron Putty for Steam Joints 100 

Imitation Pearl 64 

Inside Work 46 

Imitations of Wood or Stone 46 

Kalsomining 27 

L iquid for Broilze Powder 34 

Laquer to Color Tin 73 

List of Prices — House Paintinir 45 

Lime for Kalsomining 28 

Liquid Blueing for Laundry Work 101 

Liquid Blacking 100 

Liquid Stove Polish 9Jt 

Liquid Glue 91 

Mahogany Stain 40 

Metallic Enamel Paint 20 

Marking Ink 97 

"Nobby" Numbers 73 

New Method for Painting on Velvet 87, 88 

New Process for Lettering Without a Brush 

on Wood, Metal and Glass 68, 69, 70, 71 

Porcelain Gilding 85, 86 

Price List of Sign Painting 82, 83 



IV 

PAGE. 

Paper flanging 48, 49, 50, 51, 52 

Putty for Sinks, etc 36 

Paste for Painted or varnished Walls 25 

Paint for Black Boards 23 

Paint for Smoke Stacks 17 

Penchard and Fat Oil Colors . 7 

Paint and Grease Eradicator 99 

Picture Frame Maker's Putty 91 

Rosewood Stain 41 

Red Stain 41 

Rough Stipple for Combing, etc 33 

Rubber Stamp Ink 97 

Rubber Cement 92 

Sizing for Soft Woods to be Varnished 4 

Size for Kalsomine or Paint 24 

Size for Wall Paper or Wood to be Varnished . 24 

Size for Walls to be Papered 24 

Stencil Colors 82 

Stencil Cutting 81,82 

Signs that Read Three Ways 68 

Shading for Cut-in Signs 58 

Shading for Ordinary Signs 58 

Sizing for Pjne Wood 52 

Sign Painting 53, 54, 55 

Spacin g 55 

Spacing on Large Signs 56 

Sanding 46 

Soluble Glass for Painting 35 

Sylvester's Process for Excluding Moistuie 

from External Walls 31 



PAGE. 

Shellac Varnish 21 

Suhstitute for White Lead 19 

Solution for Colorin^tc Bronze Hinj::e8, &c 99 

Sticky Fly Paper 9(> 

To Silver by Heat 89 

To Silver Glass with Quicksilver 89 

To take Oil and Rust Stains out of Marble 89 

To Remove Ink Stains from Wood 90 

To Remove Ink Stains from Carpets 90 

To Varnish Drawings, &c ... 91 

To Transfer Engraving to Glass 94 

To Etch on Steel 94 

To Glaze Oil Paintings 94 

To Clean Carpets on the Floor 95 

To Perforate Glass 95 

To Remove Paint or Grease Spots from Cloth 96 

To Prepare Canvas for Painting 98 

To Remove Tobacco Stains from Pine Floors . . 98 

To Oxidize Silver, a Glossy Black 99 

To Remove Stains from "Brown Stone'* 99 

To Glue Leather or Wood to Iron 100 

To Gum Labels 101 

To Make Cough Candy ... 102 

To make a good Green 3 

To test the Purity of White Lead 19 

To test the Purity of Linseed Oil 20 

To Neutralized Pine Knots 21 

To make Hard Oil Finish 22 

To Clean Soiled Wall Paper 25 

To Clean Painted Walls 26 



Tl 

PAGE. 

To Make a Cheap Paint 29 

To Remove old Paint from Wood 32 

To Remove old Varni&h 32 

To make Plastico for Wall Decorations ,33 

To Silver on Glass 88 

To Crystalize or Cloud Tins for Signs, &c ... 7t> 

'I'o Letter on Card Board 74 

To Shade Gold Figures and Designs on Glass. . 74 

To Letter on Muslin 73 

To Gild Japah Tin Signs 67 

To Gild on Glass 62, 63 

To lay Pearl on Glass 64 

To Paint Plastered Walls 48 

To Darken Mahogany Wood 40 

To make Glass Impervious to the Sun's Rays. . 39 

To Prevent Paint from Chipping ofi". .... .... 37 

To Prevent Bronze from Tarnishing -34 

To make Water-Proof Cloth 18 

Uncle Sam's White ^V^ash 29 

Violin Varnish 23 

White Writing Ink for Dark Paper 98 

\7ood Fillings 5 

Wash for Brick Walls 30 

Waxing Floors 38 

Walnut Stain 39 

Wine Color Stain ... 42 

Weights of Paints 45 



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